I am inspired by artwork that performs, excites, and entertains. My Pop-Surrealist work, maximalist in its presentation, is suspended between high seriousness and ridiculousness. The theatrics of feminine emotion, pushed to the brink of hyperbole, ignite my mischievous, irreverent, cannibalistic, and cyclical artistic practice.
Through an interchange of photography and painting, I convert painted strokes into printed pixilated marks and apply them as collage to canvas. I photograph a painted figure from a
completed painting, print this photograph, and either cut it up or use it in its entirety in a new painting. I also use my photographs to build the bodies of 2-dimensional cutout sculptures. I employ visual repetitions throughout my paintings in a pointed sardonic reference to Freud’s famed idea that "Hysterics suffer from reminiscences." This digital recurrence of resized body parts and characters also serves to parallel Internet hyper linking; the protagonist of one painting becomes a portal into a new world when it appears in a separate painting or cutout sculpture.
The battle of photography versus painting is a central component of my work. I simultaneously reconcile and foment the conceptual battles between high and lowbrow culture by photographing and digitally manipulating my paintings, printing them, and merging them with physical paint. Brush strokes and collage pieces have equal importance within the paintings. These collisions amplify the principal narratives of romantic strife and body image conflict within many of the paintings.