Recent photography

This one reminded me of something.

"Around the World"
5" x 7" prints, sewn together

To create a series of images in search of beginning and end, I first
constructed a dome to represent the earth out of plaster, burlap, various papers,
rubber, shellac, acrylic and oil paint. I then photographed different sized beads and
roving wool, printed the images, and sewed them together.

"Disengaged"
8" x 10"
Hand-dyed roving wool felted into canvas

For this felted portrait of my brother (holding a flood light from below), I
mixed fabric dyes to create his skin tones, dyed roving wool, and used a felting
needle to engage it into the canvas, except for the eyes.

"Place of Punishment"

Based off Henry Thoreau’s “Civil Disobedience,” I made a sign with a
standard, black representation of a figure walking towards a church and an organic,
more natural blue figure walking in the opposite direction towards a tree. They are
both trying to achieve divinity, represented by a dove at the top.
I made the sign for an English project about a year ago by spray painting
drawer liner and cutting out the images. For “Place of Punishment,” I used the sign
again to design a site for the handling of law violators. The idea of separating men
and women was also inspired by the film “Schindler’s List.”

"Authenticity" detail

"Frivolous Cars"

By layering watercolor, shellac, pen and gouache I assembled a drawing from
the dissections of a useless model car and my brother’s dysfunctional Volvo.

"Authenticity"
24" x 36"

I layered walnut ink, black ink, gouache and some charcoal on top of graphite
for this drawing. The images represent how I remain authentic: by maintaining a
connection with nature, keeping items such as crystals and feathers, and
overcoming the stress of my school.

"Becca and the Elders" finished version

Works & descriptions (written for the SUNY Purchase application)

"Becca and the Elders," oil on canvas, 70" x 40", January 2009
I used Tintoretto’s painting “Susanna and the Elders” to create my own
narrative and composition.

"Like Ingres," oil on canvas, 48" x 32", March 2008

I used Ingres’ painting “The Bather” for the figure’s pose, and the subtleties in
his mark to capture form.

"Mirror Image," charcoal on paper, 32" x 24", November 2007

"Self Portrait Drawing," charcoal on paper, 48" x 32", January 2008

"Figure in Middle Ground," charcoal on paper, 32" x 24", September 2007

"Life Size Self Portrait," charcoal on paper, 72" x 48", April 2008

In this six‐ foot drawing, I juxtaposed my own figure with an adjustable
mannequin. Because I am changing its waist size, ideas about feminine self‐ image
are raised.

"My Mother," color film, 5" x 7", November 2008

"Reflections," black and white film, 8" x 11", September 2008

I photographed this with my grandfather’s 35mm Nikon on black and white
film, then developed it in a darkroom using a filter.

"The Green Wall," digital media, July 2008
This is a triptych of three shots I took at M.I.C.A. I feel it conveys my eye for
color and composition as an artist.

"Hand Made Book," embroidery thread, photo prints and rice paper, 5" x 7", November 2008

"Purple," embroidery thread, fabric dye and cotton, 22" x 32", September 2008

This went through several stages. First I used makiage shibori and marbling
to make the light pink patterns under the purple dye. Then after embroidering and
patching some areas, I clamped and dyed it a bluer purple. More embroidery and
patching were done, and finally I stretched the cloth to stretcher bars.

"Hanging Upside Down 2," oil on canvas, 42" x 24", December 2008

I was unable to find a hanging cow I could paint from life, so I took the
picture myself by finding a local slaughterhouse and asking for permission to take
photographs inside.

"Slaughterhouse," digital media, December 2008

"Hanging Upside Down 1," oil on canvas, 42" x 24", December 2008

The first of a diptych, I placed myself in the same scenario as the cow in the
second painting.

"Floating," oil on canvas, 58" x 25", May 2008

Initially I wanted to use realism to paint an impossible scene: myself
hovering a few feet above the ground. As the painting developed, my focus leaned
away from realism and towards creating a strong figure/ ground relationship
through color.

"Counting Pennies," oil on canvas, 48" x 28", July 2008

I did this close‐ to‐ life‐ sized self‐ portrait at M.I.C.A. pre‐ college this past
summer. I used a different approach to the paint because I was learning how to keep
my colors clean.

"Jillian," oil on canvas, 30" x 40", December 2007

For this painting, I used pattern and a mark inspired from the German
painter Lovis Corinth. The complex composition was also a breakthrough in my
work at the time.

"Brother Churchill," oil on canvas, 18" x 18", February 2008

This small portrait of my brother won a Gold Key in the Scholastics Art and
Writing competition of 2008.

"Blue Self Portrait," oil on canvas, 26" x 22", June 2008

I painted myself sitting in front of a blue wall to capture a similar approach to
color relationship and composition as Susanna Coffey’s in her portraits.

The Red Clip

“The Red Clip”

Like “Blue Self Portrait,” this was also inspired from Susanna Coffey’s
portraits. “The Red Clip” won a Gold Key in the 2008 Scholastics Art and Writing
Competition.