My practice is grounded in lived experience and operates as an ongoing inquiry into the construction of female subjectivity. Working primarily in oil painting, I examine the objectification of women and the layered formation of personal identity within systems that render the female body hyper-visible and perpetually performing. 

To move through the world as a woman is to develop an acute self-consciousness, an awareness shaped by surveillance, performance, and social expectation. This heightened perception informs both the conceptual and formal dimensions of my work. Painting becomes a site of resistance and reconfiguration: a space in which women and girls can exist outside prescriptive frameworks and renegotiate their relationship to visibility. 

Rather than accepting objectification as a passive condition, I appropriate its visual language. By “objectifying” myself on my own terms, I complicate the gaze and reclaim agency within it. I invert traditional hierarchies by anthropomorphizing objects, transforming them into female-coded presences with psychological depth, thereby disrupting the historical tendency to render women as inert, consumable forms. 

Formally, I juxtapose a playful, often saturated palette with traditional glazing techniques, invoking the historical canon of oil painting while inserting a contemporary female-centered perspective. I use feline fur and patterns, both feminine and predatory, to function as metaphors for latent violence in being embedded in gendered experience. In constructing a personal female iconography, I confront the persistent performativity of existence and seek moments of intrinsic selfhood that resist categorization.