After studying photography, I began making paintings motivated by a question: How do I depict a lived body instead of an observed one? In truth, this question is a paradox, a source of tension and humor in my work. As the world changed and my thinking shifted, I came to understand the idea of a lived body as something inherently social. The lived body is a collective one.
My work now functions in reverse: instead of depicting, I paint to summon our collectively shared body. Painting has become a ritual. I start by pouring diluted ink onto sheets of polypropylene. Once the ink dries, I respond by painting on top of its random textures, making them seem planned. My choices are oriented towards shared recognition, attraction, repulsion, and laughter. Through these interventions, the most accidental element of the painting—the poured ink—begins to feel familiar and relatable, reaching beyond the gaze and tapping into something more visceral.