Welcome to my virtual space.

I hold a Master’s in Conservation Studies, specializing in ceramics and related materials, from West Dean College. My training combined intensive practical studio work with research in conservation science, giving me a strong foundation in both hands-on treatments and investigative methods. I also earned a Graduate Diploma in the same specialty at West Dean, a Certificate in Chemistry for Conservators from International Academic Projects, a Undergraduate Certificate in Archaeology of the Ancient World from the University of Cambridge, and a Bachelor’s Degree in Studio Arts from California State University Channel Islands, which included study abroad at the Accademia di Belle Arti in Florence.

Outside of academia, I am consistently expanding on my art education through masters classes and short courses. Some of my favorites include traditional printmaking, bookbinding, pottery, blacksmithing, and silversmithing. This interdisciplinary background has shaped my approach as both a maker and a conservator, allowing me to combine technical expertise with an artist’s eye for material and form.

My conservation experience spans museums, historic houses, and outdoor monument collections.

I began my conservation career as a student conservator with the Ceramics Restoration Workshop at West Dean College, where I participated in client relations, treatment proposals, collections management systems, and documentation, and carried out treatments and object research under the supervision of my professors and visiting scholars. While working as a student conservator I treated objects from The V&A, The Russell Cotes Art Gallery & Museum, The Fishborne Roman Palace, and The National Trust collections as well as objects from dozens of private clients.

At the National Trust in Sevenoaks, I carried out preventive and remedial object treatments on 4 seperate collections, provided specialist input for a workshop on fire damaged enamelware, led wet cleaning workshops for local museum personnel, and co-led a collection-wide survey of open display ceramic and glass objects.

At Stanley Arts in London, I joined a collaborative seven-week grant-funded project restoring Edwardian-era tiled surfaces under the guidance of ICON-accredited conservators.

Most recently, I have worked with the Central Park Conservancy’s outdoor sculpture and architectural conservation team, where I contributed to a wide range of treatments including repointing mortar joints, applying protective coatings to bronze and cast iron sculptures, and recasting losses to complex stone architectural elements.

These experiences have given me valuable insight into the diverse challenges of objects conservation across settings.

For my master’s thesis, I explored the potential use of Jesmonite AC100 as a fill material in ceramic conservation. My research examined its adhesion, durability, and removability on different ceramic substrates, assessing its suitability as a more accessible and affordable alternative to current fill materials. Through practical testing and evaluation, I developed a framework for considering Jesmonite within conservation decision-making, contributing to broader discussions about sustainability and innovation in the field.

Alongside practical conservation, I am deeply committed to public outreach and professional community building. I have written several articles for conservation journals on industry events, presented my work at conferences and public engagement events, including a 2025 talk with the ICON Ceramics & Glass Group on my Headless Horseman Project, which won the 2025 Nigel Williams Award. I currently serve as a director with the Washington Conservation Guild, and as a student, I served as Student Representative for the ICON Ceramics & Glass Group, and was active in student union activities at West Dean College, including acting as Student Body President for the 2023-24 academic year. These experiences taught me the value of communication, advocacy, and collaborative exchange—skills I bring to my conservation practice as much as to my professional networks.