After I studied photography, analyzing portraits, nudes, and various other images of human bodies, I began to make paintings motivated by a question: How do I depict a lived body instead of an observed body? This conundrum is a source of tension and humor in my work. As the world changed and my ideas continued to evolve, I began to see the lived body as something social. My work now functions in reverse: instead of depicting bodies for observation, I paint to summon our shared body. In essence, my paintings are driven by a longing for a collective sense of embodiment. I begin with poured ink followed by painted elements that make the ink feel alive. The most accidental and foreign component of the painting—the poured ink—becomes strangely the most familiar and relatable. It invites the viewer to understand viscerally, beyond the gaze.