I am fascinated by the way that art can capture, glorify, and immortalize a person. Great portraits of the past provide visual inspiration and a starting point for my own artwork. I absorb these influences and synthesize them with my own memories and experiences in order to create psychological self-portraits. I insert my facial features as a self-portrait into these immortalized images. In “Self-Portrait as Madame Pompadour” I play dress-up with art history by taking on the clothing, hair, and environment of another persona. “Breadwinner” is a self-portrait in which I combine Vogue fashion spreads, Hans Holbein paintings, fauvist colors, and a cheeky expression. This is my version of a female power portrait by appropriating a male artist by using my own style, stance, and clothing.

While my paintings explicitly reference identity, I draw to show an inner struggle with duality. In the series “Remaking the Goddess”, I blur the identity of my figures and elevate their actions. They are contorted into uncomfortable poses, stripped of limbs, compressed, and tangled up in each other. Physical distortions convey the power of internal and external forces. I mix sand and sawdust with paint, then apply it with bursts of energy balanced by constrained movement. This results in a give-and-take of shape, color, and texture. While I revel in human anatomy through repeated drawing, many impulsive and disjointed elements persist. On the surface, my paintings are the physical process of formal abstraction. With a closer look, the competing figures suggest physical and psychological struggles with an uncertain outcome.