This body of work originates out of deeply personal experiences, beginning with drawings and porcelain castings of the pill strips used during periods caring for my mother—simple geometric forms reminiscent of modernist compositions—that evolved into a double portrait, blending mine and my mother’s medications, creating a fragile portrait teetering on the edge of chaos. A series of paintings continue to explore the dark, refracted reflections from digital devices, creating ambiguous, shifting spaces that resist definition. These near-monochrome flower paintings, speaking to 17th-century Dutch still lifes, flicker and dissolve, suggesting tenderness and care while remaining ephemeral and elusive. Similarly, a painting of the goddess Demeter becomes animated in paint, evoking contemporary anxieties about the natural world and debates over cultural repatriation.
A series of small drawings show how seemingly minor gestures can convey profound messages. By depicting the wounded faces of three ancient Greek gods—figures whose identities have been lost to time—these battered heads reflect a loss of identity and agency, resonating with a broader sense of uncertainty in a world that once seemed stable. Meanwhile, a depiction of the Michelangelo cast room in Moscow critiques cultural hypocrisy, as Michelangelo’s humanist sculptures contrast with the anti-LGBTQ+ stance of the regime that houses them.
