This body of work is an exploration of traditional portraiture, seduction, and exploitation, an exploration of traditional figurative portraiture, seen through the lens of Tinder, the popular online dating (hookup) app. The portraits reveal to the most extreme level of intimacy possible by ex - ploiting the speed and disposable nature of tinder relationships.
My process vacillates between performance art and classical glori - fication of the painted subject matter. I start by arranging what appears to be standard online “hookups” with men that I have never met and have only communicated briefly via text messages. I allow them to invite me back to their apartments where they are photographed in their natural habitats. I am aware of the potential risks of going so deep into a strangers life (particularly as a female). Similar to an anthropologist, I treat each of my subjects as a member of an undiscovered tribe: carefully, respectfully and fearlessly. I am very clear about my intention of photographing these men from the outset of our conversation, yet I am also aware of playing to the ego and sexual desire of each subject.
Though implied, I never actually sleep with any of them. I always tell them the work is about Men’s empowerment and ask the subject to pose in a way that expresses their inner glorified self: their god pose. This is not a lie, but perhaps only a half truth because what I really want is for the subject to be as relaxed as possible in order to reveal their duality: the space between their ego and their true, vulnerable inner selves. My photos are all shot using my iphone camera in avail - able light to get an informal aesthetic. I want the images to capture the truth of the space as well, including their personal posses - sions, dirty laundry and random garbage that they didn’t think to clean up before I got there. I have a particular interest in the books they are reading, their decorating style, and knick-knacks they leave hanging around their living space.
I find this to be so important to me mostly because I am able to see nothing but the real actual truth and presence of each person I shoot with nothing staged or hidden. From here, my painting process begins. I blow up the photos that express the subject best and print them directly onto canvas. This is simply the basis of my embellishments. I am seeking to dive as deep into my impression of the subject while they are fresh on my mind, using painting to express something that can’t be understood any other way.
I don’t have a style and don’t give a fuck about being either tight or loose. I only want to get as intimate as possible. Painting a subject captivates a sense glory and importance through the lens of my documentations and my process. The final work is meant to reveal something deeper then either my exploitation or gestures of glorification. Somewhere in there is the truth, as told from the first person perspective. The viewer is seeing what I see. I am not trying to be feminist, just an artist who takes exciting risks to find something special
This body of work “the Metamorphosis” inspired by Franz Kafka’s renowned novella, is an imitation of his story in a play on how our emotions evolve and change shape with how today’s society is always changing and challenging us every day.
The forms and elastic shaped bodies in each painting are representations of lucid emotions through different tones of color and texture. Some pieces are more lose and other’s restrictive, inviting you to see more of the paintings mood through unveiled messages. These are feelings of untold love stories, starry dreams, and uncut documented journeys of the artist’s life through her raw canvas.
2026, Acrylic on canvas, 5’x 4’,
This painting explores the body as a container of contradiction—softness and tension, control and release, interior and exterior selves. Divided down the center, the composition reflects a psychological and emotional split, where one side feels exposed and fleshy, while the other retreats into a deeper, more guarded space.
SOLD, Acrylic on canvas, Rome, Italy 2023 2’ x 3’
This piece explores intimacy, duality, and the quiet tension between presence and absence. Two abstracted figures sit in proximity, their bodies rendered translucent, as if dissolving into one another while still remaining separate. Faces are intentionally obscured, shifting the focus away from identity and toward gesture, posture, and emotional exchange.
acrylic on canvas, 20”x 16”
The figure emerges like a memory caught between dream and waking, shifting through fragments of color and form. The elongated limbs stretch across the canvas, as if reaching for balance in a world that resists definition. There’s both vulnerability and strength in the body — a being half-unfolded, mid-transformation, suspended in a liminal state.
SOLD
5’x4’, acrylic on canvas
Acrylic and ink on caanvas, 3’ x 2’
SOLD
Ethereal Mirage, 2026 acrylic on wood, 3’x 2’
Something I recently that has been layered over and over for many months of trying to find the right balance between the chaos of this piece. The work is about that. Finding peace within the chaos.
SOLD
SOLD
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series I painted over the pandemic - This series was created during the pandemic and draws conceptual inspiration from the Blue Period of Pablo Picasso, while reinterpreting it through a contemporary, intimate lens. The work explores the fundamental human need for touch, closeness, and emotional connection—needs that were abruptly suspended during COVID, leaving bodies physically near yet psychologically distant.
acrylic on canvas, 35 x 25 inches
Realist mixed media paintings inspired by master painters from the renaissance period of documented couples posing nude in their own living rooms, and bedrooms.
