In my drawings and prints, I work with signifiers of female sexuality – bulges, crevices, and limbs – rearranging them into landscapes of flesh. I play with what it means to be made into a series of objects via this still life-ification of the female nude portrait. Hyperreal color is built through layers of pastel marks, gesturing to both the bright, glossy world of the digital and the anal intellectual tradition of figurative art.

The female body is one of the most prolific art historical subjects: it is a default object onto which “art” is projected. Most nudes are not portraits, but studies in possession and desire. In its endless erotic depictions, the female body becomes little more than a series of transposable blobs, like the interchangeable breasts and buttocks of surrealist and famous pervert Hans Bellmer’s dolls. In art history and pornography alike, the image of woman transcends a singular body yet remains something less than an individual: a set of symbols, a composite animal.

I work from photos as both model and photographer. The digital age fosters a voracious consumption of one’s own image—the body is rendered still life object, erotic puppet, dissociated from the self by tireless self-scrutiny. Images are in endless supply. It is not necessary to imagine. 

I am interested in how images mediate between reality and imagination, as well as the blurred boundary between object and agent. My work explores the beautiful, absurd, erotic, and disturbing possibilities that emerge when bodies are fragmented.