I create large-scale oil paintings that explore everyday flexings of power. I use saturated color and compressed space to highlight the fictional realm in which my narratives unfold—a stage-set terrain of false fronts and facades, awash in anxiety. I use every tool I can find— cheese graters, hand-carved stamps, cake-decorating tools—to build and scrape viscous color into the forms I need. My struggle with the resistant substance of paint always leads to deeper meaning, and enriches the subject matter in unforeseen ways, inviting poetry into the act of layering paint on panel.
My subject matter is feminist, personal, and political. Currently, I am drawn to imagery that has spent enough time in the world to have accumulated conflicting layers of meaning. For example, iconic emblems of American grit and progress now read as mawkish signs of exploitation and exceptionalism. I like teasing the tangled messages apart, playing with their inherent contradictions and shifts. I am tinkering with cultural gas lighting itself—the play between a seductive surface and the mechanics of power quietly working away underneath —hoping to expose something more relevant, direct, and honest.