Creating these pieces is, first and foremost, an act of reclamation.

It is a reclamation of the little girl who thought she hated pink, who despised all things “girl”—a child so steeped in misogyny that she felt disgust for herself. That little girl grew into a woman who believed she was “too much,” “too loud,” “too big,” and so she learned how to shrink. She learned to whittle down her rough edges so she could be consumed. To dim her own brightness.

But these pieces are not quiet, sweet, or smooth. They are pulled directly from the trash heap and remade into something beautiful.

How do they make you feel? Do you see that child begging to be seen? Is there something discarded inside of you that this ignites?

Sometimes to help me find my voice I sort through the words of another. In this case, I found an old medical book about women, which is sexist and demeaning, and so I defiled the author’s message with some messages of my own.

This memory series invites the viewer to experience memory the way the artist does and begs the questions: How do you experience memories? Do they have an overall tone or flavor? Are they sharp? Do they have a color? How much detail exists?

In this series, the Artist explore the vibrational and color qualities of different mind-states and emotions. These pieces beg the questions “What are we emitting as we experience states such as rapture, surrender, depression, etc.?” and “How are we perceived when we experience these states?” The artist purposely leaves the faces off of these compositions in order to draw the viewer into their own experience in these states.

An exploration of my own reflection through a series of selfies.

This Windows series explores the artist’s ability to open the windows of her mind. With no preconceived plan or sketch, she approaches the paint and paper with only her current mind-state to guide her. The results are intriguing–creating a commentary on both the transience of mind-states and the limitations and constraints that motherhood puts on art-making.