STATEMENT 2026
Excess, contradiction, and the unruly body. I make work when something in the world, or in the way we have pictured it, feels unresolved or wrong to me. We are shaped by forces we recognize and others we barely know are there-family, personal history, inherited traditions, and a culture whose values constantly shift. I want to question what we accept, what we carry forward, and what needs to be broken apart.
I begin with a conflict: beauty and brutality, desire and fear, freedom and control, visibility and erasure. What happens when the victim becomes dangerous, when beauty turns unsettling, when something wild breaks through? Who gets to be seen, whose contributions are acknowledged, and who gets written out of history?
I make paintings, photograph people in their own environments, stage unscripted actions, and construct situations others activate. The work is physical-hand against surface, body against body, directing, pushing, moving things around. I'm searching for a moment of recognition that can only emerge through the physical act of making.
FAIRYTALE COUNTRY:
Fairytale Country is a developing series of large-scale paintings and drawings that use art-historical images to speak about the present. The distance of history allows us to enter another time before recognizing ourselves.
I redraw these images by hand, translating historical paintings into my contemporary drawing language. I add loosely painted areas, allowing color to slip outside the drawing's boundaries. Scale is crucial. I retain the dimensions of the originals-or make them larger-reworking compositions across panels and altering details to bring their world into ours. These are larger-than-life theatrical events, the theater of us, where familiar roles become unstable: victim and aggressor, civilized and beast begin to blur.
NAKED BIKE:
Naked Bike (2015–2017) grew out of my decades of riding motorcycles and my awareness of how differently women are seen—and see themselves—on machines traditionally associated with masculinity, sexuality, rebellion, and freedom.
I invited women motorcyclists to collaborate in photographic sessions, both in the studio and on the street, challenging familiar representations of the female body. Some appear in protective riding gear, which becomes a kind of armor, concealing as much as it reveals. Others shed that protection, engaging with their motorcycles naked, on their own terms.
The motorcycle becomes more than a vehicle. Its curves echo the body; it becomes a lover, a prop, an extension of strength and sensuality. At times, rider and machine merge into something like a cyborg, moving beyond conventional boundaries of gender and identity. The distinction between vulnerability and power becomes unstable.
Naked Bike is not simply about making women riders visible. It challenges the gaze through which their bodies have historically been represented. Each participant brings her own relationship to riding, her body, and the machine. Together, these images propose a different kind of freedom—one claimed rather than granted.
UNCANNY LADY M:
Shakespeare's Lady Macbeth, a woman whose gender constrains the ferocity of her ambition—“Come, you spirits that tend on mortal thoughts, unsex me here…”—became the point of departure for Uncanny Lady M. I reimagined her as a post-human figure, a kind of cyborg beyond the boundaries of morality, class, race, and gender—fierce, seductive, and unsettling.
I sculpted wire-mesh coverings for the face and body, forms that suggest both adornment and restraint. I invited women to inhabit this Lady M figure, wearing the sculpted forms and confronting their distorted reflections in sheets of reflective Mylar.
The images emerge from this encounter between body, sculptural form, and reflection. Figures fracture, multiply, appear, and dissolve. Identity becomes unstable as the body moves between control and vulnerability, exposure and concealment, presence and disappearance. What emerges is an unsettling beauty, at once monstrous and deeply human.