BIO
I Am The Accidental Weaver
My textile journey began with a childhood fascination for all things made of yarn, thread, and cloth. I watched my mother, grandmother and aunts create marvelous things and begged them to teach me. I was 4 when I first designed, sewed, and knitted outfits for my baby doll – without a pattern. I simply imagined what I wanted and then made it. I thought this was just normal. As time passed, my skills improved. I learned to use a sewing machine and started designing my own clothes. I have always preferred to have things no one else had, an anomoly for a kid. I used my embroidery skills to make hand embroidered boho bags before it was a thing. I observed how my mom and aunts made hand knit sweaters and then made up my own pattern. My favorite was the burgundy cable knit tennis sweater I made in my teens. It kept me warm all winter. Everyone else was wearing them in white, store bought. Mine was special. I have always loved having my own look.
My family did not weave. But like most girls of my generation, I wove a thousand looped potholders. I was fascinated with all the color combination possibilities – stripes, checks plaids! My design creativity took over, and abandoning the loops, I began to weave squares of woolen cloth with balls of yarn left over from sweaters and scarves. I sewed all the squares together and made a patchwork blanket. I was less than 10 years old.
I didn’t weave again until much later. In fact, I avoided weaving like it was a plague.
I was in my 20s, living in New Mexico, surrounded by beautiful Navajo weavings. I had a pottery studio then; I was making pots and, of course, I was still sewing and knitting and embroidering as I raised my young child. My house came with a small inkle loom which I had no use for and gave away. Then a woman moved in next door. She wove on huge floor loom. It looked so complicated so I declined her offers to learn the techniques. I was busy with my own things. I did not want to weave. Period.
In my 30s I returned to my old hometown of Buffalo, NY to raise my daughter. Buffalo State College offered a wonderful, broad, textile program. I wanted to learn to silkscreen, to print my own fabrics. I would augment the fibers curriculum with fashion design to improve my sewing skills, to learn pattern making. I would create original art to wear apparel.
That was the plan.
The Fates had other ideas.
My first course, Design in Fibers, was weaving! I was caught in the web of fate and there was no way out. So, I accepted my fate - I figured what the heck, I can make anything with yarn, I will give it a whirl. And whirl I did. I was totally, unequivocally, head over heels in love with weaving! I loved everything about it - the process of watching the fabric develop before my eyes, like magic, learning to read the coded language of patterns, designing, setting up the looms, all of it. It was the most wonderful, magical experience. I was hooked. I had the best professor - I adored her. She taught me so much. I felt like I belonged in that light-filled weaving studio of looms and yarn and wonderful people.
My fist assignment was to design and weave anything I wished on a portable, Navajo style loom. I was immensely homesick for New Mexico and so I created, from memory, a tapestry of a mesa in the desert, a sacred site, called Cabezón. It was autumn in Buffalo. I sat on my porch enjoying a beautiful Indian Summer, weaving the sacred lands of my past.
And thus began my journey as a weaver. As it turns out, I am a natural at weaving. I can easily read and interpret weaving drafts the way some can read music. They are very similar, weaving drafts and musical scores. Both are languages, codes. One produces visuals, the other sounds. Floor looms are like pianos, hands and feet work in harmony to produce results.
I often feel I am creating visual music when I weave.
I advanced from simple looms to very complex looms. I learned to manipulate traditional weaving structures , elevating the process to an artform. I discovered the sky is truly the limit with weaving. There is no limit. Anything that doesn't move can be incorporated into a weaving. I have fun with my work, why not? All manner of unexpected materials find new meaning in my mixed media art.
To this day, I create entirely from inside my head. I never sketch. I use no software. I visualize, play with materials and colors. I research pattern opportunities and then go for it. I let the work develop as it will, impulsed by the whisperings, the nudges of my Muses, the Fates who got me on this path in the first place.
Weaving is magic! It is mesmerizing, meditative, both stimulating and relaxing. Watching cloth flow from my hands is amazing. Weaving is universal, existing in all cultures across all time, brought by Spirit. Cloth is such a natural part of us as people we take it for granted.
When I am weaving I transcend time. I am connected to all who came before me, all who will come after me. I weave the past into the future through the present. My purpose for making art is to make the world around us nicer, more beautiful.
I Am The Accidental Weaver
My textile journey began with a childhood fascination for all things made of yarn, thread, and cloth. I watched my mother, grandmother and aunts create marvelous things and begged them to teach me. I was 4 when I first designed, sewed, and knitted outfits for my baby doll – without a pattern. I simply imagined what I wanted and then made it. I thought this was just normal. As time passed, my skills improved. I learned to use a sewing machine and started designing my own clothes. I have always preferred to have things no one else had, an anomoly for a kid. I used my embroidery skills to make hand embroidered boho bags before it was a thing. I observed how my mom and aunts made hand knit sweaters and then made up my own pattern. My favorite was the burgundy cable knit tennis sweater I made in my teens. It kept me warm all winter. Everyone else was wearing them in white, store bought. Mine was special. I have always loved having my own look.
My family did not weave. But like most girls of my generation, I wove a thousand looped potholders. I was fascinated with all the color combination possibilities – stripes, checks plaids! My design creativity took over, and abandoning the loops, I began to weave squares of woolen cloth with balls of yarn left over from sweaters and scarves. I sewed all the squares together and made a patchwork blanket. I was less than 10 years old.
I didn’t weave again until much later. In fact, I avoided weaving like it was a plague.
I was in my 20s, living in New Mexico, surrounded by beautiful Navajo weavings. I had a pottery studio then; I was making pots and, of course, I was still sewing and knitting and embroidering as I raised my young child. My house came with a small inkle loom which I had no use for and gave away. Then a woman moved in next door. She wove on huge floor loom. It looked so complicated so I declined her offers to learn the techniques. I was busy with my own things. I did not want to weave. Period.
In my 30s I returned to my old hometown of Buffalo, NY to raise my daughter. Buffalo State College offered a wonderful, broad, textile program. I wanted to learn to silkscreen, to print my own fabrics. I would augment the fibers curriculum with fashion design to improve my sewing skills, to learn pattern making. I would create original art to wear apparel.
That was the plan.
The Fates had other ideas.
My first course, Design in Fibers, was weaving! I was caught in the web of fate and there was no way out. So, I accepted my fate - I figured what the heck, I can make anything with yarn, I will give it a whirl. And whirl I did. I was totally, unequivocally, head over heels in love with weaving! I loved everything about it - the process of watching the fabric develop before my eyes, like magic, learning to read the coded language of patterns, designing, setting up the looms, all of it. It was the most wonderful, magical experience. I was hooked. I had the best professor - I adored her. She taught me so much. I felt like I belonged in that light-filled weaving studio of looms and yarn and wonderful people.
My fist assignment was to design and weave anything I wished on a portable, Navajo style loom. I was immensely homesick for New Mexico and so I created, from memory, a tapestry of a mesa in the desert, a sacred site, called Cabezón. It was autumn in Buffalo. I sat on my porch enjoying a beautiful Indian Summer, weaving the sacred lands of my past.
And thus began my journey as a weaver. As it turns out, I am a natural at weaving. I can easily read and interpret weaving drafts the way some can read music. They are very similar, weaving drafts and musical scores. Both are languages, codes. One produces visuals, the other sounds. Floor looms are like pianos, hands and feet work in harmony to produce results.
I often feel I am creating visual music when I weave.
I advanced from simple looms to very complex looms. I learned to manipulate traditional weaving structures , elevating the process to an artform. I discovered the sky is truly the limit with weaving. There is no limit. Anything that doesn't move can be incorporated into a weaving. I have fun with my work, why not? All manner of unexpected materials find new meaning in my mixed media art.
To this day, I create entirely from inside my head. I never sketch. I use no software. I visualize, play with materials and colors. I research pattern opportunities and then go for it. I let the work develop as it will, impulsed by the whisperings, the nudges of my Muses, the Fates who got me on this path in the first place.
Weaving is magic! It is mesmerizing, meditative, both stimulating and relaxing. Watching cloth flow from my hands is amazing. Weaving is universal, existing in all cultures across all time, brought by Spirit. Cloth is such a natural part of us as people we take it for granted.
When I am weaving I transcend time. I am connected to all who came before me, all who will come after me. I weave the past into the future through the present. My purpose for making art is to make the world around us nicer, more beautiful.
Artist CV
Pamela Palma
EDUCATION
2010 Master of Science in Non-Profit Management, Walden University, Minneapolis, Minnesota
1987 Bachelor of Science in Design, SUNY Buffalo State University, Buffalo, New York
EXHIBITIONS
2024 Quilt and Fiber Art Exhibit, Blue Ridge Mountain Arts, Blue Ridge, Georgia
2024 Square Foot Pin Up, South East Fiber Arts Alliance, Chamblee, Georgia
*2024 Silver Arts of Cherokee and Clay Counties, North Carolina *Silver Medal Award
2024 Juried – Makers Collective Exhibition, Blue Ridge Mountain Arts, Blue Ridge, Georgia
2024 Juried – Fiber Arts Exhibition, ClearStory Arts, Chattanooga, Tennessee
2024 Invitational – Spring, Valley River Arts Guild at Murphy Art Center, Murphy, North Carolina
2023 Invitational - Up Close, South East Fiber Arts Alliance (SEFAA) Center, Chamblee, Georgia
2022 Juried - Amethyst lll, Envisions Arts, Denton, Texas
2022 Invitational - Tiny But Mighty, American Tapestry Alliance at Emporium Gallery, Knoxville, Tennessee
2021- 2022 – Invitational, Installation Julia Tuttle The Mural, History Miami Museum, Miami, Florida
2021 Juried - Threaded lll, Envisions Arts, Denton, Texas
2019 Invitational, Installation: Spectrum, Palette of Possibilities, Studio 18, Pembroke Pines, Florida
2018 Solo - Pink Diamonds, Sol Taplin Gallery at Miami Country Day, Miami, Florida
2018 Invitational, Installation Yarn Bombed Pillars, Museum of Contemporary Art, North Miami, Florida
2018 Invitational - Threads, Braids, Fibers, Little White Box Gallery, Miami, Florida
2018 Invitational - Ancient Legacy, Myths and Legends, Studio 18, Pembroke Pines, Florida
2017 Juried - Contemporary Fiber in Florida, Florida CraftArt Gallery, St. Petersburg, Florida
2017 Juried - Perspectives in Fiber: Moving Beyond Tradition, The Armory, Lake Worth, Florida
2017 Invitational - Out of Many One, Studio 18 in the Pines, Pembroke Pines, Florida
2016 - 2017 Juried, Touring - Tapestry - Textile Mail Art:
Museo Textil de Oaxaca, Mexico;
Museo de la Filatella de Oaxaca, Mexico
2015-2016 Juried, Touring - Small Tapestry International:
Artspace Gallery, Raleigh, North Carolina;
Biggs Museum of Art, Dover Delaware;
Hanchy Gallery, Natchitoches, Louisiana
2015 Juried/Touring - Intertwined: Hudgens Art Center, Duluth, Georgia;
UCC Art Gallery, Atlanta, Georgia;
Lamar Art Center, Barnesville, Georgia;
Howell Turner Center for the Arts, Valdosta, Georgia
2014 Invitational - Art Wynwood International Contemporary Art Fair, Miami, Florida
2014 Invitational - Urbanism Perceived/Imagined, Coral Gables Art Museum, Florida
2014 Juried - Clothesline Musings, The Painted Bride Art Center, Philadelphia, Pennsylvania
2013 Invitational - Spoken Threads, ArtRage Gallery, Syracuse, New York
2012 Juried - Rip Her to Shreds, FAT Village Projects, Fort Lauderdale, Florida
2012 Juried - Buy Me Love/Venus Transmissions, Valmar Gallery, Miami, Florida
2012 Juried - Art in Craft Media, Burchfield Penney Art Center, Buffalo, New York
EXHIBITION CATALOGS
2018 Contemporary Fiber in Florida, Florida Craft Art Gallery, St. Petersburg, Florida
2017 Perspectives in Fiber, Moving Beyond Tradition, Armory Art Center, Palm Beach, Florida
2016 Tapeceria Que Vieja, Arte Correo Textil, Museo Textil de Oaxaca, Oaxaca, Mexico
2015 Intertwined 2015, Contemporary South Eastern Fiber Art, Hudgens Center, Atlanta, Georgia
2014 Untitled, American Tapestry Alliance, Feinstein Gallery, Providence, Rhode Island
2011 Art in Craft Media, Burchfield Penney Art Center, Buffalo, New York
ARTIST RESIDENCIES
2024 – Open Studios at Cherokee County Arts Council, Murphy, North Carolina
2013 – 2017 Bakehouse Art Complex, Miami, Florida
2002 – 2004 Miami Art Central, Miami, Florida
1997 – 2002 Oolite Arts (South Florida Art Center) Lincoln Road, Miami Beach, Florida
AWARDS
2024 Silver Medal, Silver Arts of Cherokee and Clay Counties
2023 Weave A Real Peace (WARP)
2022 Envisions Arts, Purple Haze
2021 Envisions Arts, Miami Beach Tutti Frutti
GRANTS
2021 Miami-Dade County Department of Cultural Affairs
2021 Common Field
2021 Artist Relief Trust ART
2021 CERF+ Get Ready
2020 Miami-Dade Arts Support
2020 CERF+ Artist Relief
2020 Miami-Dade Arts Support
2020 Oolite Artist
2019 Awesome Miami Foundation
2016 Common Field
2015 Miami-Dade County Department of Cultural Affairs
PRESS
2024 VoyageRaleigh, July 2024, https://voyageraleigh.com/interview/life-work-with-pamela-palma/
2024 Awesome Miami Foundation, January 2024, Julia Tuttle The Mural (at 7:00), https://www.youtube.com/watch?v=p_4AyJWHOEI
2023 Bold Journey, June 2023, How I Found My Purpose
2022 CANVAS|REBEL, June 30, 2022 Meet Pamela Palma
2022 NBC 6 Miami, @ConstanceJonesTV, January 10, 2022, Julia Tuttle The Mural Honors Founder
2022 Artburst, Gina Perez, January 25, 2022, Julia Tuttle The Mural Needs A Home
2022 National Society of Colonial Dames of America/Miami, Becky Matkov, Julia Tuttle
2021 Edible South Florida, Summer 2021, issue #3, volume #12, Julia Tuttle Larger Than Life
2021 Redfin, Bring Comfort into your Home with Woven Art
2021 HistoryMiami Museum, Miami Stories: Survival During the Pandemic
2021 Rocking Chair Sessions, Impact of 2020 on My Artwork
2020 VoyageMiami - ShoutOut Miami, Meet Pamela Palma Artist+Designer
2019 Rocking Chair Sessions, Pamela Palma, Artist Interview
2018 Artsy.net, Try Yarn Bombing
2017 Tampa Times, Contemporary Fiber in Florida
PROFESSIONAL AFFILIATIONS
2024 Cherokee County Arts Council, Murphy, North Carolina
2024 – Rocky Mountain Weavers Guild, Golden, Colorado
2024 – Blue Ridge Mountain Arts, Blue Ridge, Georgia
2023 – Weave a Real Peace (WARP), Seagrove, North Carolina
2023 Nonah Weavers Art Guild, Franklin, North Carolina
2022 – Valley River Arts Guild, Murphy, North Carolina
2022 Hayesville Chamber of Commerce, Hayesville, North Carolina
2021 – 2022 Visions Art Museum, San Diego, California
2015 – 2022 PLY-Miami Fiber Art Collective, Founder/Director, Miami, Florida
2015 – 2017 American Tapestry Alliance, Director of Fundraising, International
1994 – 2001 Design and Architecture Senior High, Professor of Textiles, Miami, Florida
1998 – 2009 Miami Art Museum (PAMM), Museum Educator, Development Director, Miami, Florida
1997 – 2002 South Florida Art Center (Oolite Arts), Miami Beach, Florida
COMMISSIONS
CORPORATE COMMISSIONS: American Cancer Society, Miami, FL; Four Seasons Hotel, Miami, FL; Jackson Memorial Hospital Children’s Oncology, Miami, FL; Hiawassee, GA; Kristi House, Miami, FL; St Johns on the Lake, Miami Beach, FL.
PRIVATE COMMISSIONS: Coral Gables, FL; Kendall, FL; Miami Beach, FL; Orlando, FL.
COLLECTIONS
MUSEUM COLLECTION: Museo de la Filatella de Oaxaca, Mexico.
WORKS HELD IN PRIVATE COLLECTIONS, UNITED STATES: Alexandria, VA; Amherst, NY; Atlanta, GA; Bartonville, TX; Buffalo, NY; Corrales, NM; Durham, NH; Fort Collins, CO; Holland, NY; Hollywood, FL; Lewiston, NY; Martha’s Vineyard, MA; New York, NY; Miami Beach, FL; Miami, FL; Niantic, CT; Palm Beach, FL; Palm Springs, CA; St. Petersburg, FL; Phoenix, AZ; Providence, RI; Seaside, CA; St. Simons Island, GA; Tacoma, WA; Valley Mills, TX; Zuni Pueblo, NM.
WORKS HELD IN PRIVATE COLLECTIONS, INTERNATIONAL: Canada; Colombia; France; Israel; Macedonia; Mexico; Portugal; Spain.
Pamela Palma
EDUCATION
2010 Master of Science in Non-Profit Management, Walden University, Minneapolis, Minnesota
1987 Bachelor of Science in Design, SUNY Buffalo State University, Buffalo, New York
EXHIBITIONS
2024 Quilt and Fiber Art Exhibit, Blue Ridge Mountain Arts, Blue Ridge, Georgia
2024 Square Foot Pin Up, South East Fiber Arts Alliance, Chamblee, Georgia
*2024 Silver Arts of Cherokee and Clay Counties, North Carolina *Silver Medal Award
2024 Juried – Makers Collective Exhibition, Blue Ridge Mountain Arts, Blue Ridge, Georgia
2024 Juried – Fiber Arts Exhibition, ClearStory Arts, Chattanooga, Tennessee
2024 Invitational – Spring, Valley River Arts Guild at Murphy Art Center, Murphy, North Carolina
2023 Invitational - Up Close, South East Fiber Arts Alliance (SEFAA) Center, Chamblee, Georgia
2022 Juried - Amethyst lll, Envisions Arts, Denton, Texas
2022 Invitational - Tiny But Mighty, American Tapestry Alliance at Emporium Gallery, Knoxville, Tennessee
2021- 2022 – Invitational, Installation Julia Tuttle The Mural, History Miami Museum, Miami, Florida
2021 Juried - Threaded lll, Envisions Arts, Denton, Texas
2019 Invitational, Installation: Spectrum, Palette of Possibilities, Studio 18, Pembroke Pines, Florida
2018 Solo - Pink Diamonds, Sol Taplin Gallery at Miami Country Day, Miami, Florida
2018 Invitational, Installation Yarn Bombed Pillars, Museum of Contemporary Art, North Miami, Florida
2018 Invitational - Threads, Braids, Fibers, Little White Box Gallery, Miami, Florida
2018 Invitational - Ancient Legacy, Myths and Legends, Studio 18, Pembroke Pines, Florida
2017 Juried - Contemporary Fiber in Florida, Florida CraftArt Gallery, St. Petersburg, Florida
2017 Juried - Perspectives in Fiber: Moving Beyond Tradition, The Armory, Lake Worth, Florida
2017 Invitational - Out of Many One, Studio 18 in the Pines, Pembroke Pines, Florida
2016 - 2017 Juried, Touring - Tapestry - Textile Mail Art:
Museo Textil de Oaxaca, Mexico;
Museo de la Filatella de Oaxaca, Mexico
2015-2016 Juried, Touring - Small Tapestry International:
Artspace Gallery, Raleigh, North Carolina;
Biggs Museum of Art, Dover Delaware;
Hanchy Gallery, Natchitoches, Louisiana
2015 Juried/Touring - Intertwined: Hudgens Art Center, Duluth, Georgia;
UCC Art Gallery, Atlanta, Georgia;
Lamar Art Center, Barnesville, Georgia;
Howell Turner Center for the Arts, Valdosta, Georgia
2014 Invitational - Art Wynwood International Contemporary Art Fair, Miami, Florida
2014 Invitational - Urbanism Perceived/Imagined, Coral Gables Art Museum, Florida
2014 Juried - Clothesline Musings, The Painted Bride Art Center, Philadelphia, Pennsylvania
2013 Invitational - Spoken Threads, ArtRage Gallery, Syracuse, New York
2012 Juried - Rip Her to Shreds, FAT Village Projects, Fort Lauderdale, Florida
2012 Juried - Buy Me Love/Venus Transmissions, Valmar Gallery, Miami, Florida
2012 Juried - Art in Craft Media, Burchfield Penney Art Center, Buffalo, New York
EXHIBITION CATALOGS
2018 Contemporary Fiber in Florida, Florida Craft Art Gallery, St. Petersburg, Florida
2017 Perspectives in Fiber, Moving Beyond Tradition, Armory Art Center, Palm Beach, Florida
2016 Tapeceria Que Vieja, Arte Correo Textil, Museo Textil de Oaxaca, Oaxaca, Mexico
2015 Intertwined 2015, Contemporary South Eastern Fiber Art, Hudgens Center, Atlanta, Georgia
2014 Untitled, American Tapestry Alliance, Feinstein Gallery, Providence, Rhode Island
2011 Art in Craft Media, Burchfield Penney Art Center, Buffalo, New York
ARTIST RESIDENCIES
2024 – Open Studios at Cherokee County Arts Council, Murphy, North Carolina
2013 – 2017 Bakehouse Art Complex, Miami, Florida
2002 – 2004 Miami Art Central, Miami, Florida
1997 – 2002 Oolite Arts (South Florida Art Center) Lincoln Road, Miami Beach, Florida
AWARDS
2024 Silver Medal, Silver Arts of Cherokee and Clay Counties
2023 Weave A Real Peace (WARP)
2022 Envisions Arts, Purple Haze
2021 Envisions Arts, Miami Beach Tutti Frutti
GRANTS
2021 Miami-Dade County Department of Cultural Affairs
2021 Common Field
2021 Artist Relief Trust ART
2021 CERF+ Get Ready
2020 Miami-Dade Arts Support
2020 CERF+ Artist Relief
2020 Miami-Dade Arts Support
2020 Oolite Artist
2019 Awesome Miami Foundation
2016 Common Field
2015 Miami-Dade County Department of Cultural Affairs
PRESS
2024 VoyageRaleigh, July 2024, https://voyageraleigh.com/interview/life-work-with-pamela-palma/
2024 Awesome Miami Foundation, January 2024, Julia Tuttle The Mural (at 7:00), https://www.youtube.com/watch?v=p_4AyJWHOEI
2023 Bold Journey, June 2023, How I Found My Purpose
2022 CANVAS|REBEL, June 30, 2022 Meet Pamela Palma
2022 NBC 6 Miami, @ConstanceJonesTV, January 10, 2022, Julia Tuttle The Mural Honors Founder
2022 Artburst, Gina Perez, January 25, 2022, Julia Tuttle The Mural Needs A Home
2022 National Society of Colonial Dames of America/Miami, Becky Matkov, Julia Tuttle
2021 Edible South Florida, Summer 2021, issue #3, volume #12, Julia Tuttle Larger Than Life
2021 Redfin, Bring Comfort into your Home with Woven Art
2021 HistoryMiami Museum, Miami Stories: Survival During the Pandemic
2021 Rocking Chair Sessions, Impact of 2020 on My Artwork
2020 VoyageMiami - ShoutOut Miami, Meet Pamela Palma Artist+Designer
2019 Rocking Chair Sessions, Pamela Palma, Artist Interview
2018 Artsy.net, Try Yarn Bombing
2017 Tampa Times, Contemporary Fiber in Florida
PROFESSIONAL AFFILIATIONS
2024 Cherokee County Arts Council, Murphy, North Carolina
2024 – Rocky Mountain Weavers Guild, Golden, Colorado
2024 – Blue Ridge Mountain Arts, Blue Ridge, Georgia
2023 – Weave a Real Peace (WARP), Seagrove, North Carolina
2023 Nonah Weavers Art Guild, Franklin, North Carolina
2022 – Valley River Arts Guild, Murphy, North Carolina
2022 Hayesville Chamber of Commerce, Hayesville, North Carolina
2021 – 2022 Visions Art Museum, San Diego, California
2015 – 2022 PLY-Miami Fiber Art Collective, Founder/Director, Miami, Florida
2015 – 2017 American Tapestry Alliance, Director of Fundraising, International
1994 – 2001 Design and Architecture Senior High, Professor of Textiles, Miami, Florida
1998 – 2009 Miami Art Museum (PAMM), Museum Educator, Development Director, Miami, Florida
1997 – 2002 South Florida Art Center (Oolite Arts), Miami Beach, Florida
COMMISSIONS
CORPORATE COMMISSIONS: American Cancer Society, Miami, FL; Four Seasons Hotel, Miami, FL; Jackson Memorial Hospital Children’s Oncology, Miami, FL; Hiawassee, GA; Kristi House, Miami, FL; St Johns on the Lake, Miami Beach, FL.
PRIVATE COMMISSIONS: Coral Gables, FL; Kendall, FL; Miami Beach, FL; Orlando, FL.
COLLECTIONS
MUSEUM COLLECTION: Museo de la Filatella de Oaxaca, Mexico.
WORKS HELD IN PRIVATE COLLECTIONS, UNITED STATES: Alexandria, VA; Amherst, NY; Atlanta, GA; Bartonville, TX; Buffalo, NY; Corrales, NM; Durham, NH; Fort Collins, CO; Holland, NY; Hollywood, FL; Lewiston, NY; Martha’s Vineyard, MA; New York, NY; Miami Beach, FL; Miami, FL; Niantic, CT; Palm Beach, FL; Palm Springs, CA; St. Petersburg, FL; Phoenix, AZ; Providence, RI; Seaside, CA; St. Simons Island, GA; Tacoma, WA; Valley Mills, TX; Zuni Pueblo, NM.
WORKS HELD IN PRIVATE COLLECTIONS, INTERNATIONAL: Canada; Colombia; France; Israel; Macedonia; Mexico; Portugal; Spain.
