My work explores the tensions between systems of order and the unruly nature of lived experience. Working primarily through painting, textiles, and constructed forms, I investigate how materials, patterns, and surfaces carry cultural ideas about value, beauty, labor, and identity. I am particularly interested in the hierarchies that separate the decorative from the serious, craft from fine art, and the feminine from the masculine. 

My process begins with material experimentation. Rather than treating the canvas as a neutral support, I construct, alter, layer, and manipulate surfaces so that they become active parts of the work. Paint can become dense and physical, while fabric can function as both surface and structure. These materials allow the paintings to occupy an uncertain space between two-dimensional image and three-dimensional object. I am interested in moments when a surface begins to sag, fold, protrude, or otherwise resist the expectations placed on a painting. 

Color and pattern are central to this investigation. Historically associated with decoration, domestic labor, femininity, and excess, they have often been positioned as secondary to the supposedly more serious concerns of form and concept. I use these visual languages deliberately, considering how ideas of taste and beauty are constructed and how they can reinforce larger social hierarchies. Growing up in the South has also shaped my understanding of these relationships, particularly through the visibility of domestic traditions, craft, gendered labor, and expectations surrounding femininity. 

The work moves between control and intuition, rigidity and softness, construction and collapse. I am interested in beauty not as a fixed ideal, but as a system of value, something that can be desired, performed, commodified, and challenged. By allowing painting to become physical and spatial, I use the instability of materials to question the systems that attempt to organize them.