Weaving, Movement, and Myth
My Collaboration on Eggshells
A Fiber Artist on Stage:
Collaborating with Choreographer Sadie Leigh
Earlier this year, I had the total honor of collaborating with choreographer Sadie Leigh on a performance piece called Eggshells, part of the New Expressive Works residency program in Portland. The project was loosely based on The Penelopiad by Margaret Atwood—a feminist retelling of the Odyssey told from Penelope’s perspective—and when Sadie invited me to be part of it, I have to admit I almost said no. This was all so new to me, but I am thrilled I eventually said yes.
Designing a Portable Art Set for a Contemporary Dance Performance
My role in this project was both behind the scenes and on stage. I created a set of four woven panels that acted as the stage design—and were also used as I weaved on stage. I designed them specifically with portability in mind, knowing that we’d be rehearsing in multiple spaces over several weeks. Traditional looms require a lot of tension and can’t be broken down easily between sessions, so I had to get creative. Using wooden frames, screws, and a drill (my first time using one!), I built custom looms that were lightweight, reusable, and travel-ready. This let me keep the weaving consistent while bringing the pieces back and forth to rehearsals and performances.
Live Weaving on Stage
Fiber Art as Part of the Performance
In the opening section of Eggshells, I stood on stage and began weaving in real time. Throughout the show, I slowly connected each of the four woven panels with strands of yarn. At the end, all the dancers—including Sadie—joined me on stage, adding their own connections between the panels to create one giant, interconnected web.
Reimagining the Myth of Penelope Through Movement and Weaving
If you’re familiar with the Odyssey, you know Penelope spends years weaving and unweaving a tapestry to delay remarriage while Odysseus is off adventuring. Eggshells flipped the narrative, focusing on Penelope’s inner world—and the maidens who lived alongside her.
As the weaver on stage, my role was both symbolic and literal, connecting to Penelope’s story while also bringing my own interpretation to it. The dancers represented the maidens, moving through all the emotions of the female experience.
From Stage to Studio
Transforming the Set Into a New Fiber Art Series
After the performance, I repurposed the four woven panels into a new series of fiber art called Unraveled Roots. I wanted to keep the spirit of Eggshells alive while giving the work a new form—something that could live in a gallery, on a wall, or in someone’s home. I allowed the fibers to break free from the edges of the frame, exploring what it means to expand beyond boundaries and unravel old narratives.
Visually, I leaned into natural tones—browns and earth tones—while weaving in softer, more feminine elements. The result felt like a blend of grounded earthiness and wild, emotional freedom.
Why I Want More Collaborative Work as a Fiber Artist
This collaboration with Sadie opened a new door for me—not just creatively, but professionally. It reminded me how much I love working with performers, choreographers, and artists across disciplines. There’s something powerful about seeing fiber art interact with bodies, music, space, and time.
I want to do more of this. More performance collaborations. More experimental work. More chances to bring weaving and texture into new environments and emotional landscapes.
Thank you again to Sadie, the dancers, and New Expressive Works for making this project such a meaningful and expansive experience. And thank you to Eggshells for showing me that weaving doesn’t have to stay on the wall.
All photos part of New Expressive Works residency program in Portland and photographer @adh.photography.video