"Becca and the Elders," oil on canvas, 70" x 40", January 2009I used Tintoretto’s painting “Susanna and the Elders” to create my own
narrative and composition.
"Like Ingres," oil on canvas, 48" x 32", March 2008I 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 2008mannequin. 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 2008I 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 2008This 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 2008This 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 2008I 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 2008The 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 2008Initially 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 2008I 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 2007For 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 2008This 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 2008I 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.
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