The major themes that drive the narrative of my thesis painting are femininity and mythology, told through a lens of quotations from art history and feminist literature. The intersection of historical references and modern imagery forges a visual language that explores relevant issues of misogyny and representation in an art market that remains heavily saturated with bias. Female bodies have been subject to objectification for as long as art has been a commodity, a product to be traded and gazed upon, something that is constantly consumed. I strive to subvert that cycle by creating vessels that embody rather than exploit and depict women as sexual beings rather than sexual objects. 

Perspective is integral in storytelling, especially when asking a diverse audience to navigate a visual representation of an experience they may not be familiar with. The visual elements in my work are a collection of symbols I resonate with, many of them being references from classical paintings that are familiar to general audiences and employed with the goal of recontextualizing. Scenes of women in peril are given a new context in my work with resolutions that are open to interpretation. My goal is not to depict yet another moment of violence when that is something so normalized in our current culture and immortalized in our past, but rather to empower the subject and personify the plight of women through them. The women I paint are multidimensional. They are not another scapegoat, they are a dangerous force; not another trivialized pretty face, but the focal point of resistance.

The exploration of these themes translates my personal pursuit to reconcile the act of seeing and being seen and the journey to acceptance of the rapid shift from girlhood to womanhood.