Painting has a long timeline. I use painting’s trace of time, as a grammar to participate the forces altering cultural and economic identities. This vocabulary of power, prejudice, enlightenment or failure, which I use in free association, like the attributes, misunderstandings or chance that influence the collective, becomes a diary. I am suggesting a behavioral-historical context. Time is behavioral.
I thus induce the shift of stepping into a painting. The impression becomes an inside-out figuration much like entering a portal. By using clothing apparel or fashion cues within the canvas, I am dressing the viewer. The viewer becomes a cross-dresser.
Garment fashion or costume considers the many relationships between gender identity, class, profession, ethnicity, nationality, activity, functionality, politics, economy, and/or technology. A highly visible cultural custom exhibiting timeline, it is used to establish, break, merge and redefine tradition. My work underscores our present ability and priority to swap time, aesthetics and culture. Clothing—in addition to being necessary, sometimes fun, and always interesting—is about power. It always has been. Clothing is deeply symbolic.
My work is also situated within the history of drag, and my own history in fashion design. I use drag for its ability to transform. This is not intended as a spectacle. I want my paintings to dress the viewer, obliging them to feel and consider another skin, history or corporeality.