My work is about protection. I’m interested in the varying degrees to which we reveal or conceal ourselves, and our voices to each other. In constructing the shapes in my paintings I think about what its like to be in a body and how at times it can have great presence and strength and at other times feel fragile and vulnerable. 
 
I imagine the vessels in my work to be massive safe spaces to protect or conceal vulnerability as well as monuments to cultivate presence, strength, and meditation. In some of the work, large rounds reference heads or microphones as stand-ins for the self and the voice. They emerge from enclosures made to look like cement or stone deriving from my interest in architecture, materiality and repetition.

My ongoing project Certain Dark Things is a series of large-scale paintings born from Pablo Neruda’s Sonnet XVII. It addresses painting as a physical force, both in its materiality and its capacity to echo the properties of sculpture and architecture. The series brings together poetry and abstraction as a platform for viewers to find space for interpretation.
 
I have used Neruda’s poem as a place to begin and a place to pull imagery from its themes of secrecy, love and darkness. As the series has evolved the forms have simplified, the velocity of mark making has slowed, and the idea of presence and monumentality have come to the forefront. The viewer is asked to find their own presence and their own body in relation to these large-scale forms.
 
The forms themselves symbolize the body as a container for the self, a vast space of imagination and pure potential, pushing out into the world on its own terms, making its own rules about how much to reveal and how much to conceal.