Additionally, she graduated with an Associates in Photography from the San Antonio College in 2011.

Before relocating to Scotland, Jennichelle exhibited across Texas and Arizona. Her first professional wood engraving work was exhibited in the BFA Graduate Exhibition (2018) in San Antonio, Texas. She was invited as a guest artist to participate in the annual Children's Museum of Yuma County gala fundraising event UnWined the Art of Possibility (2021). She has been showcased in various annual exhibitions such as the Origins: Hispanic Heritage Month (2023, 2021), Sunniest Place on Earth (2022), and the Yuma Art & Poetry (2021) displayed through Yuma and San Luis Arizona.

Jennichelle has also contributed as a curator for the 7th and 8th Annual Art & Poetry Exhibitions (2023-2025) responsible for selecting and arranging artwork, collection management, promotional and public engagement, as well as assisting in the creation of the illustrated published catalogue.

It was during her graduate years that she was first introduced to printmaking, primarily the woodcut method. She became fascinated with the method of carving an image into the surface of wood, the play between negative and white space, the methodological and tedious repetitive motion of sharpened blades working towards and against the grain, and how time consuming such a method required to obtain fine details. Her own work follows this practice, but does not create prints. All of her pieces are standalone works.

Jennichelle's technique aims to explore and push the boundaries and versatility of wood as a medium using an abstract approach for the highlighted subject. She welcomes the unforgiving nature of her preferred material allowing it to guide the initial rough design opening up the creative space to make room for mistakes and deviation from the original sketch. Her creations are typically on the larger scale working in repetitive and small engraving motions across bigger areas in constant and exhaustive movements that become obsessive and all-consuming, ultimately creating pieces that rely heavily on intricate, fine details.

Recently her work, which explores Greek mythology and biblical angels, aim to revere and worship powerful and otherworldly entities by utilizing the wood as the altar and her repetitive, obsessive method as a means of veneration and devotion, forcing the viewer to be confronted in large scale by these beings, engraved with abstracted and biomorphic shapes, that are simultaneously monstrous and breathtaking to witness.

She currently aims to exhibit her work across the United Kingdom.