My work begins in painting and ends in fashion. The canvas becomes dispossessed from its original intention, clothing & objects are embedded to restructure the surface and support; the canvas now has a body to receive.
By using clothing or fashion within the canvas, I am dressing the participant. The participant becomes a cross-dresser. This is couture. I am shifting the experience from viewing to encourage the participant to enter within the picture plane, to feel from the body of the canvas upon their body. The impression becomes an inside-out figuration.
I use fashion’s ability to consider gender, class, ethnicity, politics, & economy. Clothing—in addition to being necessary, a display of vanity & beauty—is about power. The fashion objects in the paintings are directly taken from the flux of commercial negotiation and are used for their effect on our self-appropriation. With the expanding of identities, comes power, and the mimesis of power, my work investigates the complexity of identity.
Like the commercial fashion in reference, the objects fold back upon the implied narcissism and fantasy to transfer a floating subjectivity. Following the grand ol’ history of painting and its ability to create illusion, my work attempts to imagine convincingly, who we want to be, to assert what we are denying, revealing an armature over the lived vulnerability that is being held and shrouded.