In my work, I use methods of painting, collage, and video to explore the relationships between surface and image, materiality and content, and legibility and disorientation. Through a process of pulling apart and recombining borrowed forms, both art historical and autobiographical, I search for the moment an image loses its representational solidity. While figurative traces often remain within my paintings, I am interested in how and when a form slips from its origins and resists immediate classification.

In recent work, this process of abstraction unfolds through the cutting, draping, and layering of painted canvases and recycled fabrics. By fragmenting and reassembling once-whole paintings, the art historical images I draw upon are physically distanced from their sources, becoming both faintly familiar signifiers and new, autonomous objects. These image-objects hover at the edge of recognition; I think of them as both resistant and flirtatious forms. They playfully lean into representational space, yet resist the ease and immediacy of being pinned down and defined.

By working with the painted substrate in its unstretched state, I reimagine the flatness and rigidity of painting - and its history - as malleable, soft, and unfixed. Modular in nature, these draped paintings resist a finished state while suggesting the possibility of future reconfiguration. Rather than presenting a linear narrative, this potential for reassembly disrupts expectations of legibility and interrupts immediate interpretation. Through this work, I explore the material possibilities of the painted surface to question painting’s entrenched dichotomies - front and back, abstraction and figuration, image and object - while introducing an alternative softness and provisionality to the painted form.

By reconsidering the conventions of painting across all facets of my studio practice, I continue to search for uncertain and unsettled spaces of representation, as well as the transformation and reimagining of historical narratives.