I have been endlessly enthralled by the interpersonal stories of artists, models, collectors, and so on. I began painting personal narratives based on famous works of art as a way of reframing the inherent patriarchal gaze over landscape and women's bodies.
The 16th and 17th Century Dutch flower paintings launched me into thinking about how the subject matter – tulips, hyacinths, pineapples, and porcelain vases for example – originated in the Middle East, South America, and Asia. This lead me to research the trade routes of the Dutch East India Company and consider how many of our current decorative aesthetics are derived from the colonialism of that era.
Before joining the MFA program at ETSU I had amassed a large collection of “failed” paintings. I adapted them into new works of art and recontextualized them by combining them with other paintings or shuffling them into new compositions.
My materials are chosen primarily for the tactile experience I have with them. I am compelled by the visceral qualities of paint and the language of mark-making, obliteration, spilling, and swiping. Ceramics, textiles, and paint all possess rich layers of cultural relevance to respond to.