I BEGAN THIS CURRENT BODY OF WORK IN 2018, WHEN I STARTED WORKING WITH REVERSIBLE SEQUIN FABRIC. AS OPPOSED TO MY PRIOR WORK WHICH OBLITERATED MARK, THE “MARK” AND COMPOSITION REENTERS THE PAINTINGS WITH THE VARIATION IN THE FABRIC TEXTURES, CREATING A FOUNDATION FOR SUBSEQUENT MATERIALS SUCH AS PUMICE, GLASS BEADS, MICA FLAKES, AND METAL LEAF. THE PAINTINGS EVOKE A PELT-LIKE SKIN AND REFERENCE THE FEMININE BODY AND FASHION INDUSTRY WITH THE USE OF SEQUINS AND COSMETIC MATERIALS WHICH ARE THEN RE-CONTEXTUALIZED WITHIN THE FRAMEWORK OF MONOCHROME AND COLOR FIELD PAINTING, A HISTORICALLY MALE-DOMINATED FIELD. ASIDE FROM THE IMPLICIT POLITICS OF THE MEDIUM, I WANT TO CREATE ELUSIVE, EXPERIENTIAL PAINTINGS THAT ACTIVATE THE VIEWER’S BODY THROUGH THEIR SEDUCTIVE LIGHT-BASED SURFACES. THE PIECES ARE MEANT TO BE ORGANIC, ALMOST LIVING BEINGS THAT REVEAL THEMSELVES OVER TIME. THEY ARE BOTH PSYCHICALLY INTERIOR AND EXTERIOR, EVOKING DEGRADED URBAN SURFACES OR WORN ROCKS YOU WOULD HAPPEN UPON IN NATURE. ULTIMATELY, THEY OFFER A ROMANTIC AND UNCYNICAL COUNTERPOINT TO THE IMAGE – SATURATED AGE OF INSTAGRAM, ASKING TO BE LIVED WITH RATHER THAN SCROLLED THROUGH.