My work is about the relationship between interior and exterior worlds — the inner self versus the outer spaces we inhabit.

I often use the idea of a theater, with objects from my own life placed on the stage, to represent personal and familial history.

Current work has grown out of my experience of motherhood and having a body shaped by caregiving, age, and invisible labor. Grounded in a feminist perspective around visibility and value, these paintings let me question who gets to be seen and how worth is constructed around those bodies.

I am also interested in painting’s ability to investigate perception and illusion. From researching optical devices used in ancient theater, I explore the use of the lens throughout art history, and the eye as the original camera lens. Out of this stemmed imagery based on scans of my body.

By representing the insides of my eyes and breasts, I’m describing features that both invite and resist the gaze, that alternately represent nurture, comfort, and desire.

Paintings of my daughter’s eyes extend this inquiry beyond the self. They introduce a shared field of looking, charged with care. To this end, seeing — and painting — is embodied, relational, and continually shifting between what is revealed and what remains unseen.