While reveling in the materiality of paint, I playfully explore how illusions of femininity are performed in an image driven culture.  The sources for my work derive from an ecosystem of products and imagery borrowed from pop culture, for example, beauty supply products, motifs from lifestyle blogs, and party decor.  These devices are often used in humorous ways to critique the nature of artifice.

In my recent paintings I utilize pastry tools as a means of mark making.  This application allows me to explore the malleability of paint by creating a tactile physical depth, which belies the flatness of a traditional canvas.  In my work, the rectangle of the canvas acts as a window and a literal support where mounds of oil paint adorn the structures surface creating sculptural forms reminiscent of reliefs.  Through this mode of application, paint and object become one in the same, announcing a physical presence which rivals sculpture.

Pulling from Rococo tropes, piles of oil paint transform into faux icing suggestive of floral arrangements, serpentine lines, and elaborate ornamentations, which create immediate seduction and decoration.  These motifs are often arranged as literal three-dimensional frames closing in on my subjects and putting them on display for the viewer.  By employing Rococo’s aesthetics of excess in my work, I call attention to fabricated manifestations of beauty and illusion.  .