Having grown up on a cranberry farm in New England, I treat the fruit like an exalted potion that seeps through my paintings, whether conceptually or literally, and intoxifies its subjects. Photographs of berries and botanical illustrations replace and adorn parts of the female body. Breasts become globular appendages that bubble up, guzzle down, shrivel, and lactate. Wanton figures of myth and fairytale perform a sumptuous dance within the monstrous feminine and the maternal grotesque. The body is often subsumed in pregnancy and postpartum while maintaining a certain burlesque attitude, exploring maternity and its endurance.

I use alternative media and surfaces to emphasize a visceral mark. The spill of ink on mylar refers back to the body permeating beyond its own boundaries. The fluid is juxtaposed with collage elements; using solvents and other transfer methods I directly appropriate reference images from my archive. I often use myself as my model, creating a private performance for my camera, spurred by specific images or words, reenacting a story or thought through movement and expression. In recent installations, I suspend works throughout a space, making use of their translucency and presenting them as double-sided paintings that immerse the viewer in their own world.