A pile of my own used incidentals—including bras, lingerie, designer shoes, Hanukkah decorations, used paintbrushes, souvenirs, memorabilia, and concrete blocks—that I once used to hold up my paintings has magnetically migrated to the center of my studio. These articles reflect my personal connection to femininity, Judaism, romance, and notions of painting, and have become specimens, icons, and relics that are poked, prodded, stroked, rubbed, then pulled, torn, and broken apart. They become the supports for new work, connecting my past practice of painting on canvas to the more open and broadly defined notion of “painting” that interests me now. A laborious process of making grips me, entrances me, brings me to the devotional. I get lost in the repetition of the act of making. As an intermediate step, variable elements are stained, glazed, sprayed, painted, or dipped, then at times rubbed, scraped, sanded, drilled, or cracked open. All surfaces are covered, decorated, and obliterated, with many being re-exposed to varying degrees. Methodically, meditatively, obsessively, carefully, at times carelessly but always vehemently, I make and remake.