I am interested in the use of a pastel palette suggesting a playful levity while subverting the trope of its gendered proclivity. Flower garlands decorate but also act as a foil—to distract. Stones lock the picture plane in place like paper weights. These motifs, along with the colors I choose, formally build a ligature from which to hang the image. Within this framework, repetition and decoration, either masking or unmasking, offer a multiplicity of possible interpretations. In her text titled “Patterns, Grids, and Painting,” published in Artforum in 1975, Amy Goldin states: “Pattern is basically antithetical to the iconic image, for the nature of pattern implicitly denies the importance of singularity, purity, and absolute precision.” I enjoy seeing how far I can subvert the iconic, ridding it of a singular meaning.