STATEMENT OF WORK

I paint to capture an experience of seeing—fluid, shifting, and deeply personal. Born without depth perception, I spent my early years teaching my eyes to work together. The challenge of orienting myself in space underlies my fascination with vision and the tension between depth and flatness in my paintings. My work encourages the eye and mind to wander rather than fixate. Unexpected spatial relationships, multiple viewpoints, and subtle shifts in color reflect the layered, incomplete nature of perception. Each composition resists resolution, instead inviting mutable perspectives. 

The surface itself is integral to the content. I begin by folding and unfolding fabric onto the canvas, creating shallow reliefs that shift in response to the subject. These subtle topographies catch light, cast shadows, and form edges that both describe and disrupt the image before paint is applied. As fluid and flat paint interacts with the surface, the image becomes as malleable as the fabric. The painting emerges as much through sensation as sight. 

My practice weaves together a kaleidoscope of art histories. Each painting is a still dance with my family’s creative lineage, such as my grandmother’s sculptures and embroidered reinterpretations of Modernist works, and my lived experience. I embrace the contradictions inherent to painting by combining representational techniques with flat and material abstraction. The painting functions as both object and illusion, surface and window—but not all at once.

Painting is how I locate myself in personal, cultural, and art history while imagining what comes next. I draw from Western Modernist painting, Postmodern thought, and other traditions that have influenced me. Postmodernism, for me, revealed cracks in inherited ways of seeing. Through painting, I re-examine the fragments, reassemble what still fits, discard what does not, and search for a new perspective—knowing that, too, will shift as the world does.