After I studied photography, which included analyzing portraits, nudes, and various other images of human bodies, my artwork became driven by a question: How do I depict a lived body instead of an observed body? In truth, this question is a paradox, a source of tension and humor in my work. When I pour ink and begin painting and drawing around it, the ink appears more alive and “real” than the subsequently added elements. As the most accidental part of the artwork becomes familiar and relatable, it invites the viewer to connect viscerally, beyond merely gazing at the other.