ARTIST STATEMENT
I paint the female body in states of transformation—pregnancy, birth, postpartum—to reveal the visceral realities of motherhood. I want to know how this experience consumes, ruptures, and remakes the self. I’m drawn to the monstrous feminine—the reproductive body as both feared and revered, volatile, leaking, uncontrollable.
I paint the female body in states of transformation—pregnancy, birth, postpartum—to reveal the visceral realities of motherhood. I want to know how this experience consumes, ruptures, and remakes the self. I’m drawn to the monstrous feminine—the reproductive body as both feared and revered, volatile, leaking, uncontrollable.
Growing up on a cranberry farm in Massachusetts, I was immersed in cycles of fertilization, growth, and harvest—rhythms that shape my work. Cranberries become metaphors for the reproductive body: swollen, fertile, bleeding. The harvest’s dependence on flooding echoes my fascination with containment and permeability. I see the body as a vessel that refuses to be sealed, always in flux.
I often use my own body as a model, staging performances for the camera to explore personal and archetypal imagery. I draw from folklore and mythology, reimagining figures whose transformations mirror the physical and psychological shifts of motherhood. These mythic bodies—splitting, mutating—speak to the instability of identity during matrescence. My materials embody this fluidity: I use acrylic inks on translucent drafting film, letting the paint pool, bleed, and stain.
Through these paintings, I confront the contradictions of motherhood—its tenderness and violence, power and erasure, creation and consumption—an experience that is both universal and deeply personal.