Wish upon a Star is an ongoing series of over one hundred paintings that represent objects within a field of color. The paintings are made by placing found objects on top of magazine images of “dream things”: beautiful items, exotic trips, idealized houses void of dust or clutter. Paint is then sprayed across the page and around the object. The pigmented mist moves like light, ultimately stopping where the object meets the page. The result shows impact where the object and image touch, a gradation of shade where the shape of the object can be sensed, in contrast

As an artist I am inspired by the relationship between human emotion and our natural environment. I often choose subject matter based on life experiences that have been humbling and sometimes traumatic. The psychological elements of my paintings are generated by personal and emotional responses to people, places, and things. Recent works draw inspiration from historical photography of the Civil Rights movement, and, through the use of color and gesture, offer a contemporary response to social and political issues of the past and present.

The title of this series of paintings, Flash Cocotte, roughly translates as “Fast tart.” Advertised on social media sites, flash cocottes are pop-up parties for queer and gender-flexible people. I appropriate existing images sourced from disco, private Tumblr accounts, and late ’70s–early ’80s “tomboys” that have informed my identity and sense of self. I further queer these images by a creating a type of reassembled painting, one that combines the masculine and the feminine. I explore micro expressions, gender play, and the simple heartfelt abandon one feels on a dance floor. This physical

My work gives form to fleeting memories and the suppressed mania crawling beneath the carpet of the western home. These images recount crisis and triumph, momentum and confinement, lust and low-altitude bombing. Finding stillness in the recording of arguments within the process of painting and drawing, I return to my childhood freezer filled with popsicles and secret passageways.

All great things should be a complicated, mercurial stew of bitter sweetness. Along with the simulation, the work should be grounded with an equal portion of concrete reality. Real camouflage, in all of its ersatz weirdness, paired with stylized but lovingly recreated replicas. What is and what could be are wed in a perfect union of contradiction.

My work ponders memory loss. We inhabit spaces where voids are filled with nothing; they overflow with emptiness. Gaps always have placeholders. Information travels silently into invisible clouds.

My paintings are derived from digitally dissected images. I apply oil paint to the surface in consecutive layers to transfer the abstracted reference information into iconic female forms. The accrued layers leave visible traces of the process and create a physical depth in the portrait. The organic properties of the oil paint permeate the rigid digital process.

My work explores the visual language contained within a created object, the painting—a tactile image constructed of physical material, with suggestions of depth and flatness, demonstrating various pictorial constructions originating from how we see and experience real space, objects, matter, and life within the constraints of time.

This series is a narrative of a place losing the qualities that distinguish it from a space. The establishment of a sense of place is a psychological event that occurs when a person gains a connection to a physical location and moment through experience. This work explores the relationship between place and time in this process. I make this work to understand what happens to our understanding of a space as it changes.

My work is very material- and process-based, utilizing languages associated with painting, fiber, and printmaking. I create soft sculptures, paintings, and installations that point to the conversation on the isolated body, one that is going through mental and emotional etiology. Through the use of synthetic material such as faux fur, silicone, and other materials and processes associated with craft and print, I push the experience of the viewer to one that is disorienting and conducive of their own bodily awareness as it relates to surrounding objects. As