My paintings depict family scenes drawn from my immediate surroundings and childhood memories, though it is often unclear whether these moments actually happened or were dreamed. I move between the familiar and the foreign, the contained and the fragmented, presenting everyday domestic scenes in an estranged light.

My process begins with observation and photographing ordinary moments with my family, domestic settings, and personal childhood memories. I mainly work in oil and acrylic, often starting with a base layer that I then selectively cover or leave exposed. This process creates fragmentation and distortion of the figures and imagery.

My work stems from a need, as a woman and a mother, to explore estrangement within the family unit, the delicate bonds between family members, and a sense of vulnerability within the safe and familiar home. Having grown up in a sheltered, closed nuclear family, anything and anyone outside the home felt foreign and carried an implied risk of harm to me and those around me. Over time, these feelings developed into intrusive and unbearable thoughts: If the stranger carries the potential for harm, perhaps the familiar and the loved do as well, perhaps we all carry the capacity to hurt one another, even within a loving and protective environment.

Within my work, I raise questions about strangeness, familiarity, and vulnerability inside this protected space: Who are the figures in the painting, and what is their relationship? Why do distorted and unsettling figures inhabit an intimate setting? Are their intentions to care for or to harm one another?

The space I create in my paintings is disorienting and dreamlike. Familiar and foreign imagery coexist, both comforting and unsettling, as memories and dreams often are for me. Through distortion and exposed, fragmented areas in my paintings, I invite viewers into this dreamlike space to fill in what is absent and to recall a memory that is not their own.