I choose to objectify my body and my personal history in a confrontational manner that is firmly not seductive, but ranges from camp to self-deprecation to the ridiculous. In creating these charged hyperbolic works, I wish to expose and challenge ubiquitous, pervasive hetero-normative gender expectations.
Channeling juvenile abandon, I brazenly tear and cut collage elements to symbolically destroy the ideals to which I once conformed. Teetering between collage and painting, the works are pubescent: gawky, hormonal, hopeful, rebellious. Through this cycle of self-cannibalization, I revisit the submissive girl that I was and I strive to liberate her, and thereby the representation of the female form, from the shackles of a male-dominated, Western art historical model.
The paintings, in their “too-muchness,” challenge that which is deemed socially acceptable for women in the realm of communal voyeurism. The saturated and frenzied compositions reference society’s insatiable appetite for distorted and depersonalized female forms.
