My paintings are where Pre-Raphaelites meets Camp, both are anti-establishment movements, but are also in opposition to each other. I combine romanticism and over-the-top theatricality by placing naturalistic female figures in fantastical landscapes while utilizing bright colors, geometric patterns, mica, glitter, and even stickers. I strive to make overtly beautiful and pretty paintings, challenging the idea that you have to be boring and solemn to make anything of merit or importance. 

My landscapes do nod to the celebration of nature of Pre-Raphaelite paintings, but they fall more into the Camp sensibility. They are highly stylized, overly saturated in bright colors, made with several different mark making techniques. The mica, glitter, rhinestones, sequins, and stickers collaged onto the canvas exaggerates the frivolousness, while also being decisively feminine. The magical world I’m building alludes to a time and place where innocence is undeniable. My figures are depicted more naturalistically, which was one of the main attributes of the Pre-Raphaelites, but I try to portray them even in the nude without judgement which is more characteristic of Camp. The world I'm establishing is suppose to be a safe haven where they can seek refuge in these beautiful places and things. The environment is used at times to protect or cover, but also to adorn and celebrate. This reflects the idea that female empowerment in their own bodies is somehow threatening and in conflict with being morally innocent and respectable. While growing up in a sensuous Californian subculture I embraced the importance of body autonomy and overcoming shame which led to my own independence. My paintings are meant to show these women are resisting any negative connotations associated with their lavish environments, and are embodying the freedom in that idea.