In the series, “I think I married the back of your head, but, damn, it treats me well.” I mine my experience of navigating a fluid identity throughout a long-term partnership. Flipping traditional gender roles in portraiture, I position my husband as generative muse. Letting desire direct my imagination, I cast Jordan into revealing, formidable and lurid roles drawn from Internet wormhole catalysts and characters encountered during routine life. Presenting hybrid portraits that announce the blurred lines between our sense of self and our relation to our partner; I am concerned about the implications and complicity of desire. I ask, “What is the risk of desire being rooted in speculation and projection?” and “How have our desires been constructed through our collective socialization?”.

I am preoccupied with the unseen forces that mold who we are, who we pretend to be and whom we want to be with. I am interested in the simultaneity of thought between the intoxication of a desire and the knowledge of how quickly desire can shape-shift into something dangerous. I am curious about how inviting the viewer to witness my honest struggle with how desire is concocted might provide a seemingly playful space to inhabit but upon further inspection reveals the fabricating systems within which “buy-in” might support.

Within my installations and object-paintings, I purposefully use textile techniques like weaving, knitting, basketry, crochet and coiling for their use by feminist activist groups, innate sensuality, their embodiment of domestic memories and historical use as story telling devices.