The figures in my work exists somewhere between my body, storied ingénues, and iconic nudes—from the idyllic Fauves, toned Greco-Roman sculptures, and languid Odalisques, to preposterously proportioned Pin-Ups. In grappling with “the reclining nude” and “the bather,” I contend with the appeal of her lethargy, and the performance, versus the reality, of relaxation, distress, and apathy. Using this amalgamate, I illustrate vignettes of multiplicity, unease, and yearning in high-contrast, emotional colors. Surrounding tissue boxes, spilling messes of nail polish, food, blood, tears, and candle wax further inform these narratives.
My figures are an interrogation of my anxieties, my ego, and 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, film and advertising. I am curious as to the effects of that unwarranted exposure, how this tradition of the female figure as passive, yet central, has shaped my expectations of art, femininity, self-care, and sexuality.