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The more recent paintings are mostily whole body self portraits about degrees of self consciousness and play; may be overtly sexual, may not; a woman alone and unselfconscious but also staged. There is a range of vanity, truth and honestly about the body. 

Scale is important: I  make the figures appear to be in an extension of the room. When viewers share the space with the  paintings the dyanmic changes the space and a new relationship takes hold.


The mirror reflects the gaze of the woman in the painting whose face is hidden or turned away, self involved.  In "Homage to My Body" I set myself up as the Velasquez Rokeby Venus but the light in it recalls Vermeer or Dutch painting. In "My Face" I set myself up on my bed looking playful like a yogi looking in a big mirror, going for the light in this one too, creeping light with lots of color in the grays Dutch light.


You can’ t always fully see my face, only the reflection with the head tilted back. A painting has script on it of that says ( Embarrassed) I am too embarrassed to look at you directly. There is freedom in solitiude, playfullness and separation of the self from a full gaze.

At times I try turn paint into the embodiment of female self-consciousness to scrutinize and be scrutinized to feel what it might have been like to simultaneously be Courbet and his model. By thinking about myself as a character I am also asking what it would be like to be in one of Courbet's paintings considering how sensual they are and what that means in the context of our age

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