Senior leader in museum education and learning with over 20 years of experience designing, funding, and scaling educator-centered initiatives across cultural institutions and national professional organizations.
My work focuses on learning strategy, educator leadership, curriculum development, and cross-sector partnerships, with a strong record of leading teams and stewarding multi-year, grant-funded initiatives. I bring particular strength in aligning pedagogy, institutional values, and sustainable practice.
I am especially interested in roles and collaborations where learning, partnership, and educator expertise are treated as strategic assets within organizations.
This collection began as an experiment in noticing.
What started with morning walks and museum reflections became a map of the life that happens between the two — the spaces where art, teaching, dogs, gardens, and work blur into one another.
I’ve spent more than fifteen years in the same museum, surrounded by art and people who care deeply about it. During that time, the world and the work has changed. The quiet joy of teaching in galleries has had to coexist with exhaustion, bureaucracy, and loss. I’ve watched brilliant colleagues leave the field and others, like me, stay each decision an act of courage in its own way.
These essays are about that staying: what it costs, what it gives back, and what it means to live a life built around curiosity, attention, and care. They’re about learning to move through seasons of burnout and renewal, stillness and change, holding faith that the small work the slow work matters.
They are also, in their own way, about rebellion. Not the loud kind, but the steady, deliberate resistance of people who choose to make meaning in a world that often rewards speed and surface. The rebellion of museum educators who listen more than they speak, who see teaching as collaboration rather than instruction, who hold space for complexity instead of closing it down.
If there’s a single thread running through these pages, it’s that care itself is radical — that to keep tending, to keep noticing, to keep believing that art and education can humanize us, is a form of resistance.
Living Composition is not about perfection. It’s about practice. It’s about the rhythm of walking with Artemis along the Bayou, moving through galleries with teachers and teens, tending to houseplants, programs, and possibilities. It’s about learning to see the continuity between the work and the life that surrounds it. Each post began as a moment something half-felt, half-seen that asked for language.
Together, they form a record of what it means to build a life around art and attention, love and labor.
If this collection has an argument, it’s a simple one: That curiosity is a muscle worth keeping strong.
That stillness is a kind of progress. That rebellion can be quiet. And that, in the end, a meaningful life might just be one lived carefully, curiously, and with care as a living composition.
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