Location: Brooklyn, NY, USA

Medium: Drawing in pastel and charcoal

Open to commissions: Portraits, interior design collaborations, murals.

Contact: admin@fuguegallery.com

Every day I draw from life. I do not demand much, try to stay still. Bacon insisted on painting his figures free of their presence in the room, for he claimed they disturbed him while he painted. This sensation of discomfort and otherness feeds my work, for it is a psychological work. Navigating this Lucian-Freudian approach, it is about setting traps and developing them to capture a fleshy essence. Like the glaring stare of the panther, I practice hunting. After some brief polite greetings between the naked and its depictor, that is when beautiful hours of silent, primitive, substance expression spark. The life in front of me and I exchange a poignant, muted duet. Expansion- every stroke in the pictorial plane unfurls deserts. Matisse wrote that a drawing is like an acrobatic exercise, and I agree: it is an effort that requires devoted practice and a pre-warm-up, and, in a like manner, it is also done in an erratic, continuous swinging motion. I mainly draw with pastel and charcoal. I see myself as a draughtswoman who lays out the plans for human anatomy machines. I work with optical color, cross-contour and currently trying to crack The Desiderio Code... Areas of study I draw from include: Greek mythology, Jewish folklore, Neoplatonism, Classicism, Transhumanism, and the Temple of Nature.

*Future Forward Feature My work demilitarizes the tradition of noble portraiture while preserving the Baroque representational technique. This is my take on it, and it is entirely different: drawing and pastel were once considered mere preparatory media.
A new mythology is written as we speak. A Platonic ideal, at times mannerist, is reflected in the fleeting moment and cast into the mirrored sphere that is the queer body.
I am the mediator between my feverish impressions and the limning hand.
Desire, ripe fruit. The future is queer, but so is the past. Where can one go after the wall has fallen, when eroticism no longer needs to be symbolized but can be declared openly? In a world of machines, here is the body. We are constantly changing creatures, subjects, objects, and artistic statements. Every form we take is beauty.
My paintings follow the fall of light in an apparently scientific, naturalistic way, yet our bodies are changing. We are advancing toward mechanization, but the only thing we truly possess is the body, somatic and fleshy, a moment between two people that becomes a portrait from life. The other is not “cringe.” The other is all that we have.