FORM And Feeling

These works begin with the female form taken apart. They are then rebuilt into new configurations. I fragment the body into abstract shapes that refuse to resolve into a single or legible figure. What remains is contour without containment: a hip, a curve, a void where a body should be, suspended in Prussian blue. The cut is not violence for me but agency.  Each incision marks a place where I have chosen what to reveal and what to withhold, refusing the long history of the female body as a surface offered whole for inspection.

The process of making a cyanotype is itself a negotiation between presence and absence, exposure and withholding. It is analog, light-dependent, slow, a chemistry that requires the sun's cooperation and yields an image that is never fully controllable. Layering it against the precision of digital negatives creates a friction between the hand-made and the machine-made, the body rendered simultaneously as data and as residue of a physical act. That tension mirrors the double condition of being a woman under a gaze that is at once technological and ancient—measured, scanned, surveilled, and still mythologized. The negative space here carries as much weight as the positive. What is absent is not lack, but boundary, breath, and refusal. In this way the work resists the passive nakedness assigned to women in the history of image-making and insists instead on fragmentation as a form of authorship.

Ultimately these pieces ask what remains of the female body when it is no longer offered as a whole. Cut, inverted, exposed to light and then hidden again in its own shadow and a sea of color, the form becomes less an object to be viewed than a proposition: that wholeness is not a precondition for power, and that a body in fragments can still refuse to be possessed.