My work is predominantly figurative; I have been obsessed with the figure since early childhood. Conceptually, my work centers on the human condition, and the nuanced experience of being complex, spiritual beings trapped in beautiful, but ephemeral, decomposing physical vessels. In the figure, I found an endless stream of leap off points, from body issues to gender issues, overt and covert sexuality, mental and physical battles and breakdowns , humor, loss, love, grief, and death.
I have also used my work as a forum to explore my own psychological struggles; having been diagnosed as bipolar at the age of seventeen, I found that I could better navigate and decipher my own emotional landscapes through visual language. I tend to favor layered and process based work; I find calm through repetition and process, and tend to discover meaning, and communicate with myself on a subconscious level, through visual cues.
Thematically, materials figure prominently. Latex, like skin, deteriorates and loses elasticity over time. It holds a promise it cannot keep. Resin traps a fleeting moment in time forever, like a fly in amber. It is a way to try to grasp that which slips away from us, and to stop loss, if only to hold on to an illusory fragment of what once was.
Being raised in the Catholic church, and enduring eleven years of convent school, framed my early vision. The influence of the aesthetics, ritual, and rigid doctrine served as both a rebellion point, and a guiding template. Being surrounded by vast stained glass windows whose vibrant jewel tones and dramatic compositions were a portal into other worlds of grace, beauty, and unimaginable suffering left an indelible mark on my visual language. I always view the museum as the cathedral of artwork, and that feeling of reverence permeates my work.