I paint anthropomorphic forms that live somewhere between imagination and reference, abstraction and representation. I like to skirt the edges of portraiture, giving form to atmospheres, objects, impressions, momentum, patterns, and personalities—a whirling representation of what might remain in a portrait if the body were warped or removed altogether. I make use of fabrics and pattern as a central motif, which comes from my interest in fashion, interiors, and objects that become charged through their connection to the historical expectations of women. I approach these ideas through formal and conceptual means, taking direct cues from the colors, patterns, and haphazard compositions of my old family photographs and my life today. Through a variety of techniques, including drawing, collage, digital sketching, and painting, I create engaged interactions among formal shapes that simultaneously animate and distort the original memory, image, or personal narrative that I am referencing.