While reveling in the materiality of paint, I playfully explore how illusions of femininity are performed in an image driven culture.  In my recent paintings, I use dogs as a stand-in for the human figure. This structure allows me to access viewers through empathy and humor while simultaneously eliminating problematic representations of the female figure.  I utilize humor not merely as relief, but also as a political response and act of resistance to pop-cultures demanding aesthetics. 

Exploring paint and its application is crucial to my practice.  To further explore the tactility of paint I began using pastry tools.  These tools create piles of oil paint that transform into faux icing suggestive of floral arrangements and elaborate ornamentations.  Reminiscent of Rococo aesthetics, the faux icing creates immediate seduction and decoration.  I often arrange these sculpted motifs as three-dimensional frames, putting my subjects on display for the viewer, much like images seen on computer screens, instagram, and countless social media platforms.

In addition to mounds of paint, I collage faux nails, eyelashes, glitter, sequin, and holographic papers to my canvas.  These synthetic materials call attention to fabricated manifestations of beauty, over-abundance, and excess.  By juxtaposing classical painting techniques with collaged synthetic materials I critique the meaning of “status” and contemporary modes of self-portrayal in Western culture.