My art turns the definition of femininity on its head.

It examines and questions women’s roles in the world as dictated by social constructs: the ones imposed upon us – obedient child, wife, and daughter – and the ones we step into voluntarily – boss, lover, and vixen.

I use humor to explore the depths of these ideas. Womanhood cannot and should not be confined to one definition. Why do we have to be vixens or victims? Can we be both? My work explores the paradox of the powerful vs. the powerless in a manner that is both playful and sexual. The women in my work become icons who reoccur in different contexts and combinations. In this way, my work is layered with meaning. I look at the words we use to define masculinity and femininity and play with typography and context. For example, why is a bossy man synonymous with executive leadership while a bossy woman is a bitch? My bold and graphic treatment of words amplifies my ideas and by questioning the many facets of women, I embrace the freedom and power within every woman.

My primary medium is a combination of photo-silkscreen and painting. Silkscreen allows me to juxtapose and overlap a variety of images to create nuance and explore new definitions of old ideas. I use the actual silkscreen as if it’s a paintbrush, so each piece is an original. The beauty of the silkscreen process is that it allows me to experiment with translucency, opacity, layering, and pattern to explore relationships seen and unseen.

My hyper-feminine imagery and style are used to discuss our modern distaste for femininity, despite its allure. This a perfect dichotomy with modern cultures’ obsession with beauty but contempt of feminine interests, impressions, and representations.

My practice is partly born from my aphantasia and astigmatism, quirks that leave me unable to visualize normally, something which lends itself well to my continuous iteration process.

I merge my experience as an outsider artist with my intersectional feminist and classical lens. I studied the classics, both in texts like Medea and in the art to give myself an understanding of what was created in the male gaze so I could truly paint my feminine subjects and femininity from an informed gaze. An art movement is never finished until every gaze is seen and every story is accounted for.

I prefer to engage the viewer in the intersection of poetic language, technology, and visual symbolism to discover the impact of my ideas on the viewer, emotionally challenging the viewer on their preconceived notions of what it means to be feminine.

My hyper-feminine imagery and style are used to discuss our modern distaste for femininity, despite its allure. This a perfect dichotomy with modern cultures’ obsession with beauty but contempt of feminine interests, impressions, and representations.

My practice is partly born from my aphantasia and astigmatism, quirks that leave me unable to visualize normally, something which lends itself well to my continuous iteration process.

I merge my experience as an outsider artist with my intersectional feminist and classical lens. I studied the classics, both in texts like Medea and in the art to give myself an understanding of what was created in the male gaze so I could truly paint my feminine subjects and femininity from an informed gaze. An art movement is never finished until every gaze is seen and every story is accounted for.

I prefer to engage the viewer in the intersection of poetic language, technology, and visual symbolism to discover the impact of my ideas on the viewer, emotionally challenging the viewer on their preconceived notions of what it means to be feminine.

For the longest time, women have always been the subject of great art, but rarely were we allowed to create great art. Being a female artist in the 21st Century, I look to my female heroes for guidance and inspiration. From Marie Antoinette to Miley Cyrus I paint my subjects the way I see them, inspiring, beautiful, and most importantly, complex. There is so much more to these women than meets the eye, yet all of them were or are dismissed at face value.

In my acrylic paintings, I explore the dichotomy between my female subjects and their personal stories. While my almost cartoonish art style may play into the notion that these women are ditzy and childish, my intention is to tell their true stories. These women have inspired me, and while I wish to emulate their pop culture selves, I am aware of the darkness that lurks behind the fun. To convey this darkness I like to paint moments from their lives that don’t play into the notion of fun and positivity. I chose to work with acrylics because as a medium they are as bright as an artist’s medium gets. This naturally plays into my exploration of my subject’s pop culture image. It’s fun and colorful, yet if you look twice, there’s still the true story behind my fun image.

My painting style is dynamic, colorful, and intriguing and with that, I want to invite the viewer to look at the women I admire. And to remind everyone that when it comes to women, there is so much more than meets the eye.

The following pieces are made by hand felting then quilting (with an industrial sewing machine), un-spun sheep’s wool & silk, Some of the more detailed subjects are needle felted first, and then laid on the background and wet felted together to bind and join the components together.

Wet felting is the process of manipulating sheep’s wool with soap and water and layers until the fibers bind together and become a non-woven “fabric”.

Because of its durability, felting has been used to make many functional items throughout history, such as yurts that are lived in by nomadic Mongolians, rugs, jackets, slippers, hats, etc…

As for my use of it, I am creating 2 dimensional, ”felted tapestries”. In my work, you’ll often see painterly-like scenes that I refer to as Feltscapes – landscapes & scenes that are reminiscent of works by members of the Group of Seven, although I’m also often inspired to work on other subjects that I find myself interested in, such as people, birds, animals, florals & abstracts.

The following pieces are made by hand felting then quilting (with an industrial sewing machine), un-spun sheep’s wool & silk, Some of the more detailed subjects are needle felted first, and then laid on the background and wet felted together to bind and join the components together.

Wet felting is the process of manipulating sheep’s wool with soap and water and layers until the fibers bind together and become a non-woven “fabric”.

Because of its durability, felting has been used to make many functional items throughout history, such as yurts that are lived in by nomadic Mongolians, rugs, jackets, slippers, hats, etc…

As for my use of it, I am creating 2 dimensional, ”felted tapestries”. In my work, you’ll often see painterly-like scenes that I refer to as Feltscapes – landscapes & scenes that are reminiscent of works by members of the Group of Seven, although I’m also often inspired to work on other subjects that I find myself interested in, such as people, birds, animals, florals & abstracts.

The following pieces are made by hand felting then quilting (with an industrial sewing machine), un-spun sheep’s wool & silk, Some of the more detailed subjects are needle felted first, and then laid on the background and wet felted together to bind and join the components together.

Wet felting is the process of manipulating sheep’s wool with soap and water and layers until the fibers bind together and become a non-woven “fabric”.

Because of its durability, felting has been used to make many functional items throughout history, such as yurts that are lived in by nomadic Mongolians, rugs, jackets, slippers, hats, etc…

As for my use of it, I am creating 2 dimensional, ”felted tapestries”. In my work, you’ll often see painterly-like scenes that I refer to as Feltscapes – landscapes & scenes that are reminiscent of works by members of the Group of Seven, although I’m also often inspired to work on other subjects that I find myself interested in, such as people, birds, animals, florals & abstracts.

The following pieces are made by hand felting then quilting (with an industrial sewing machine), un-spun sheep’s wool & silk, Some of the more detailed subjects are needle felted first, and then laid on the background and wet felted together to bind and join the components together.

Wet felting is the process of manipulating sheep’s wool with soap and water and layers until the fibers bind together and become a non-woven “fabric”.

Because of its durability, felting has been used to make many functional items throughout history, such as yurts that are lived in by nomadic Mongolians, rugs, jackets, slippers, hats, etc…

As for my use of it, I am creating 2 dimensional, ”felted tapestries”. In my work, you’ll often see painterly-like scenes that I refer to as Feltscapes – landscapes & scenes that are reminiscent of works by members of the Group of Seven, although I’m also often inspired to work on other subjects that I find myself interested in, such as people, birds, animals, florals & abstracts.

The following pieces are made by hand felting then quilting (with an industrial sewing machine), un-spun sheep’s wool & silk, Some of the more detailed subjects are needle felted first, and then laid on the background and wet felted together to bind and join the components together.

Wet felting is the process of manipulating sheep’s wool with soap and water and layers until the fibers bind together and become a non-woven “fabric”.

Because of its durability, felting has been used to make many functional items throughout history, such as yurts that are lived in by nomadic Mongolians, rugs, jackets, slippers, hats, etc…

As for my use of it, I am creating 2 dimensional, ”felted tapestries”. In my work, you’ll often see painterly-like scenes that I refer to as Feltscapes – landscapes & scenes that are reminiscent of works by members of the Group of Seven, although I’m also often inspired to work on other subjects that I find myself interested in, such as people, birds, animals, florals & abstracts.