These drawings explore the parallels between recent apologies made by men accused of sexual harassment and the fault-finding marketing claims routinely displayed on consumer products for women. By highlighting these mea culpas from formerly powerful males, I consider how rarely expressed such public admissions are from men regarding their flaws, both physical and emotional.

I create my text-based paintings by carefully stenciling the familiar yet ridiculous names of common lipstick shades against a matte, plush background of the color they represent. I use bold color and evocative typography to draw attention to the absurdity and insinuation in each shade of lipstick.

In this series of paintings, I isolate the architecture and signage of suburban stores, malls, and highways of my native New Jersey to show the idealism in which they were originally conceived.

This series was inspired by flipping through the pages of vintage LIFE magazines and realizing that while stereotypical notions of femininity feel so dated, at the same time they are parallel to the standards by which women continue to measure themselves by today. This led me to use gold leafing on images excised from 1950s beauty advertisements to highlight the hairstyles, bras, nails, lips and cosmetics that were featured so frequently then (and now). I also use gold leafing to isolate and recontextualize advertising messages as a way to highlight that irresistible trifold marketing promise: beauty, youth and perfection.

In this series, I explore the contradiction of women’s simultaneous embrace and skepticism of women’s beauty products; questions of product efficacy are often eclipsed by the irresistible promise of faith, belief and transformation. The products depicted are common products that women keep in their medicine cabinets today but for many the product name is text extracted from the headlines of 1950’s-era beauty advertisements.

This series of slip-casted porcelain replicas of beauty and makeup containers is an investigation of feminine form. By stripping these products down to their bare shapes, devoid of their product labels, I ask the viewer to consider what the shapes themselves convey.

This is a series of collages of vintage Playboy pin-up shots with common consumer products obscuring their nudity. Through the juxtaposition of this cultural ephemera, I explore conventions of femininity, beauty, sexism and misogyny in the ordinary objects that surround us.