The Overreactor is made from acrylic tufted yarn. She is 12ft by 9ft in size. Created in 2025 during Graduate school at The Art Institute of Chicago.

This is from a body of work titled: Monsters In Bloom. The collection of rugs refuse to be silenced and walked on-climbing walls, erupting pile heights, and amplifying the echoing generational silencing of women.

Featured in Fiber Art Now fall 2026, Opposites Attract, First place winner.

This 6ft by 4ft giant hysterical tufted hand is made from acrylic yarn. She has wrapped around her finger the cord to a vintage vacuum. She is part of a series of work titled: Monsters in Bloom, a collection of rugs refusing to be walked on. This body of work was created during graduate school at The Art Institute of Chicago in 2026.

This work explodes notions of domesticity by gianting and mythologizing stories that have been silenced for too long. Exploring historical and contemporary gestures of “hysteria,” a man-made artifice used to undermine, devalue, and decenter women’s voices, agency, and power.

for sale

She’s, “too sensitive” is made from acrylic tufted yarn. She is 10ft by 8ft in size. Created in 2025 during Graduate school at The Art Institute of Chicago.

This is from a body of work titled: Monsters In Bloom. The collection of rugs refuse to be walked on-climbing walls, erupting pile heights, and amplifying the echoing generational silencing of women.

A devised film created by Jen LaMastra, Kali Quinn, and Meg Massalone.

A review by Catherine F Norgren, Professor, Theatre and Dance The University of Buffalo:

"I have watched it three times. As always, you have taught me something. I always struggle in VI with time and motion as an element - and often ignore it with the excuse that theatre is a time-based art form, thus we deal with it 'naturally' and inevitably.

Maybe because the virtual/video world has become prominently 'only' and maybe because 'adjusting' is ubiquitous, your 8 minutes and 56 seconds of film have made me think about reality, fantasy, myths of origin, and the possibilities of using color, gesture, texture - and sound - to investigate the relativity of time and motion. HALVE compresses time, collages it, and makes it stretch and bend. Things that make you go "hmmm".

You have also taught me, reminded me, how very much I care about process, the compiling of ideas. I have been using the metaphor of an iceberg - as the work necessary in a design - and realize that even though I tell students nobody sees the 8 tenths of work under the surface, that is what interests me most. I am so glad to know even some of the stories behind the making of HALVE!"

eggshells collected after 2024 election results

5ft by 4ft

2025

The work is a portrait of suffocation: by nationalism, complacency, and voting choices that valued egg prices over women’s rights. The shells were collected in protest—mailed or hand-delivered by dozens across the country—turning a domestic fragment into a collective act of dissent.

Bedsheet, embroidery floss, embroidery hoop, beads, thread, stabilizer.

6 ft x 4 ft

2026

FAKER looks at the subtle performances women pick up in daily life. Again and again, a faceless figure on all fours—a pose seen in ads, movies, and online—shows how certain gestures become routine, even unconscious. LaMastra’s slow, repetitive stitching turns the body into a place where pressure, want, and fear leave their marks. The piece asks us to think about how often femininity acts as a mask: something shaped to keep the peace, feel wanted, or simply stay safe—and what it could mean to step outside that role.

Sand, acrylic paint, hour glass

8ft by 4ft

2021

This piece is part of the SHE collection created in 2021 and displayed as a group show, “Power Positions: A dismantaling of Phallacies”

Art Review

One thousand four hundred and sixty five days of wishing, and hoping, and manifesting change.  An autobiographical snapshot of a grieving woman in search of hope. 

MATERIALS:
Eggshells
1000 embroidered origami cranes
Muslin
Glass bottles
Origami lucky stars

SPECIAL THANKS
Chandra Glaeseman (plaster casting master), Cyan Bott, Celeste Sipes (Radish Underground), Kollodi Norton, Emmalene Capece, Kellie Kane, Kristin Olson, Jan Schatz, and Cindy Black.
 

Life size sculpture cast in plastic, and tissues folded into origami cranes. It was displayed in the SHE collection, shown in the group show, “Power Positions: a dismantling of phallacies.”

Created in conjunction to 2016 film, I am the explosion of a thousand cranes in flight. Premiering at 2016 Beady Little Eyes Puppet Slam in Portland OR. Supported by RACC.

Asked Every Guy I Ever Dated, 2025

Materials: Acrylic yarn, vintage childrens books

Size: 7ft by 6ft

Asked Every Guy I Ever Dated repurposes the classic children’s book Are You My Mother? into a large-scale crocheted quilt that disrupts nostalgia and maternal narrative through acts of quiet aggression and feminist refusal. Each book has been sawed open, its contents hollowed out and replaced with bold refusals: “No,” “Bitch please,” “Sike.” What once told a story of longing and attachment now delivers exasperation, boundary-setting, and refusal.

for sale

Fabricated into bright yellow granny squares, the piece mimics a giant baby blanket. By embedding subversive language into a traditionally “sweet” form, the work exposes the invisible labor of politeness, caretaking, and being asked—again and again—to perform softness.

This is a protest built in yarn and repetition, using the language of craft to reject the roles women are conditioned to play.

This collection of wearable art was created during the 2012 Glean Residency at the Metro Waste facility and Recology. All items used were rescued from the landfill over a 6 month period.

Items include: mini blinds, bicycle tire tubes, x-rays, couch lining, drawer pulls, curtains, old photographs, spoons, mattress springs, pages from a dictionary, audio cassette tape film, window screening.