GERB

an artist's newsletter

Hello there!

First and foremost, I present to you: GERB TOUR 2025!

Important: I’m still waiting to hear back about Cary, Atlanta, and Huntington Beach, SC. I figured I’d go ahead and add those to the list for now. If anything changes and I’m not headed that way, I’ll let you know!

I’m very excited to travel alongside my work, meet new audiences, and grow my platform. I think this summer will be a very special time of change for me.

This month marks my first full year as a full-time artist. To be very honest, the journey has been filled with extreme highs and lows. Just like any other business getting started, uncertainty and doubt are two huge obstacles that are bound to show up.

I have a sign on my studio door that says: “Operate from strength, not fear.” I’m not always the best at following this mantra, but I think what matters most is that I sincerely try to see past my fears and forge onward. I’ve been extremely blessed with a good support system—friends and family who are there for me when I feel low, and who celebrate me during the highs.

Thinking about the opportunities that will arise from GERB TOUR really grounds me. These fairs will serve as my exhibitions of the year and functionally as solo shows in lieu of any formal gallery exhibitions.

The most formal exhibitions I’m developing (and creating new bodies of work for) are taking place in three “tour” slots that are indoor installations rather than street fairs:

House show in Charlotte, NC at a super special location (I’ll be sure to let you know and invite you as we get closer to September!)
Exhibition in Wilmington at the Local Community Center for the Arts
Indoor fair in Washington, DC

In terms of fairs, I’m super excited about the special fair in DC. While it is a fair, it’s different than the others as it is indoors, has white walls, and good lighting. I’ll be treating it as an installation show, exhibiting all new, unseen work. I’ll also be doing another fancy indoor show in Brooklyn, NY, in Spring 2026. These booths cost $2,700 each, so… there’s a high expectation of sales :)

What I’ve Been Working On Lately:

While I have many shows across the Eastern US this year where I’ll bring old and new work, I plan to create a cohesive body of work in the studio. I want to flesh out the concept in my head and really give it time to take shape. The goal is to treat time in the studio with the depth, intention, and creative cohesion of gallery shows—and to develop a large, strong collection of work.

Lately, I’ve been exploring deeper into my dreamland series, through its portals and diverse settings. This time, I've noticed more realistic parts of my life coming into play here. I’m captivated by the fairytale story that the Southern summer night naturally evokes: fireflies bouncing light, crickets and frogs singing, the mystic blue hour where the trees and grass glow indigo.

The act of recalling the Southern fairytale I grew up alongside has grown stronger since moving out to Castle Hayne and being immersed again in the forest and farmland. We live next door to donkeys, ponies, and horses. It reminds me of my childhood on my family’s farm.

Me and Savannah on her horse, Ginger—the sweetest, most loving horse.

This here was my best friend, Odus, Odie for short. I'd lie with him in his stall and talk to him in goat language. I knew he could understand. Odie was SPUNKY. Sometimes, we'd take him to soccer games with us, and he'd run around at halftime (decked out in my team's jersey) and leave pellets on the field... Not sure the refs or the other team were happy about that. I could go on and on about him... but for now, just know he was very social and enjoyed being in the spotlight. He lived a long, happy life alongside his main buddy, Coco the goat.

Savannah was responsible for caring for the horses while I managed the goats. The pasture and barn felt like our special sanctuary. I am grateful we had this space.

The series that has naturally come underway—and what I intend to embark on this summer—revolves around this Southern fairytale. It involves kudzu, fireflies, and windows. It plays with the contrast between indoors and outdoors.

The fantastical layer behind these painting compositions is exciting and moving for me. It feels really really really good to paint here.

Alongside the fantasy, I’m also interested in how the comfort and constraint of Southern settings, values, and traditions play a role in the duality of girlhood and womanhood. The settings I grew up with, the motifs I’ve been surrounded by, the feelings I’ve felt, and the memories I’ve had in the South all play a large role in how I conceive this work. This body of work faces inward.

A little 12x16" wooden panel underway...

The Kudzu

Kudzu runs rampant in the Southeast US. If you don’t know what it is: it’s an invasive vine that smothers and kills native vegetation and buildings. It’s like a monster—extremely hard to tame—and it grows at lightning speed.

I grew up knowing it was invasive, but I still thought it was the most magical nature in town. We’d pass by kudzu forests tall as roller coasters all over Charlotte. I still feel that internal curiosity toward kudzu-covered areas in Wilmington. I’ve always wanted to walk under the emerald canopy and build a giant fortress.

Kudzu wants to have a role in this series. I'm figuring out why. It’s magical, yes—but it also mimics some of my feelings about growing up. I’m still trying to understand why kudzu has been popping up in my work.