My contention with “the reclining nude” and “the bather” is the appeal of her lethargy, moreover, her performance of relaxation and distress versus the reality. The figures in my work exist somewhere between my body, storied ingénues, and iconic nudes: idyllic Fauves, toned Greco-Roman sculptures, languid Odalisques, and preposterously proportioned Pin-Ups. Reinterpreting and repeating iterations of these figures is emblematic of my complicated relationship to western culture and media: over-saturated by my close-but-never-close-enough likeness to pitied, yet desired, women in paintings, myths, fairy tales, films and advertisements.