Fashion has always been very intriguing to me, and that comes through in my artwork. My paintings are mostly larger than life figures and portraits in which I strive to achieve realism. My paintings comment on society’s relationship with fashion and beauty by addressing the consequences of these systems. In my wearable art, my focus has been on using unconventional materials and exploring the boundaries between fashion and art by creating pieces that cannot be categorized as one or the other.

Despite my generations’ conditioning to want everything instantly, my painting process is slow, quiet, meticulous, and tedious, with an extreme focus on technique. My paintings are inspired by society’s relationship with fashion and beauty, which is a give and take. It gives modes of expression but takes away individuality by mass producing everything, it gives exciting new designs but takes inspiration from the old ones, and it gives insecurities through advertising but offers to take them away with products. I believe that this relationship is relevant and worth further examination.

My interest in wearable art comes from my fascination with fashion and interpretations of beauty along with my interest in the tensions between the definitions of art and fashion, and where those definitions overlap. My goal is to create work that exists in that overlap, meaning it cannot be distinguished as either fashion or art. The functionality and beauty of fashion are intriguing to me, and those elements combined with the freedom of creativity in art prompt me to experiment with unconventional materials such as ceramics, paper, and wood.

Both my paintings and wearable pieces are inspired by my interest in the many sides of fashion and the various interpretations of beauty. In my paintings I hope to prompt the viewer to consider the consequences of their relationship with fashion and beauty, and in my wearable pieces I want to make the viewers question whether they are looking at a piece of fashion or a piece of art.