My work exists within a realm of subtle contradictions. It is an exploration of the balance between allure and repulsion, a contemplation of whether beauty serves as a crutch or a catalyst. Other contradictions, excess and absence or materiality and illusion or transformation and decay, are its undercurrent. The spectrum of these contradictions mirror the complexities of my personal experiences with disordered eating, and depend on the fusion of materiality and paint application. They reflect a personal perpetual struggle, one that is identified by ever-changing thoughts around beauty, repulsion, decay, glut, and scarcity.

The majority of my works function as visceral bodily abstractions, acting as a cartography of the body. However, some pieces venture beyond the corporeal realm, reflecting more intangible references that still speak to the many contradictions I am interested in. Within my prints and paintings, I intentionally explore a spectrum that oscillates between profound beauty and daring grotesqueness, that speaks to the complexity of my own experiences.

My practice is a performative act that seeks to ask and answer what is the painting a witness to. Through this transformative process, I engage in a dance of pushing and pulling, urging certain marks to the forefront while others recede into the background. The core resides in the materiality itself, where texture, form, and depth become the priority. My work is process-based, which allows materiality to be the central part of its existence. As a part of materiality, there is a sense of textural abundance, contrasting with the atmospheric paint application, that evokes a sensorial experience. Ultimately, my paintings take on varying degrees of sculptural, bloated, or juicy appearances with a positive and negative relation between the materials where certain marks and gestures are brought forth from the surface.

When I think about my practice…I recognize that the anxiety that I often feel, my work—or the act of making it–solves for me. Making acts as a way to distract from the overwhelm of my thoughts and channel compulsive habits that if left unchecked can become debilitating. I relinquish control to my subconscious, relying on a reservoir of technical knowledge and a profound connection with the materials. The act of creation is a dialogue between myself, the tools I employ, and the receptive surface, resulting in a living, breathing entity.

At the core of my artistic philosophy lies a deep reverence for the creative process—a belief that the act of creating art is as important as the final product. I view my process as a dynamic performance, where the surface becomes a stage for the interplay of materials and gestures. It is a narrative of energy, tension, and transformation, serving as a witness to the evolution of my ideas and emotions as they manifest onto the surface.

One of the distinctive facets is the utilization of non-traditional materials, such as caulk and spackling paste. These materials, marked by a sense of utilitarianism and construction, run parallel to the themes of beauty and grotesqueness. They encapsulate the juxtaposition of fragility and resilience, echoing the intricate dance between chaos and order. The interplay between them is palpable, evoking a simultaneous sense of attraction and unease.

Each stroke, layer, and mark takes on a life of its own, a problem to be solved, an enigma to unravel. It is all constantly evolving, shaped by the intrinsic dialogue of intuition, technique, and the evolving needs of the piece. They are, in essence, a journey of endless transformation, a quest to solve the unsolvable. In the ceaseless flow of existence, my art serves as a sanctuary—a testament to the profound connection between the tactile and the intangible, the material and the ethereal. It is a dance of existence, an ever-changing narrative that unfolds with every mark.