My art has become rooted in a process of layering. I layer materials to explore technique and to express the concept of inside versus outside. The evidence of multiple layers of materials is symbolically connected to what is happening within my own life. I want the viewer to see an indication of deeper layers of process and materials rather than just the polished surface of an artwork. This layering process can also be seen as a metaphor for human nature, what we see on the outside is not always what is on the inside.

When I was younger, shortly after my father died, my mother bought me a t-shirt that I loved and wore till it was worn out. On the shirt there was an image of a man, strapped into an electric chair, holding pieces of bread in each hand. A sign above him read, "Making the best of a bad situation." That statement became a mantra I held onto in the early years after my father's death. It still guides my personal philosophy---humor is key to survival. Particularly a type of humor that celebrates the fact that "shit happens", while highlighting and delighting in the irrational: who is the doomed man going to give the toast to once he is dead?

My work seeks to reveal the relationships between woman and man, woman and self, and woman and the space which she inhabits. Through personal memoirs and everyday observations the private becomes public, and moments of intimacy transpire. Intimacy requires dialogue, transparency, reciprocity, and self-disclosure, all things that I have been reflecting upon in my work over the last two years. Relationships are formed within the works and through the experience of the viewer with the art. Figures and abstraction coexist next to one another informing the viewer of things familiar, creating closeness, while also spatially confusing the viewer, creating a distance. Moments are filtered through abstraction and illuminated through touch. These moments, while often small and fractured, combine together to create a full and complete reflection of the self and the other.

Sweaty Mother Slow Groove is an engagement in magical thinking that proposes a displacement of swamp methodologies into the virtual realm, existing during the fourth wave. In doing so the cyborg and goddess are united in a re-routing of essentialism and the neo-liberal domination of technology. The metaphorical swamp is the possibility of a mushy danger zone that harnesses the absorption of an unwanted space: a disintegration of the binary and the soft-coded awareness of the body as a process, not a site.

L'invention de la photographie bouleverse le monde de l'estampe entre 1850 et 1865. Le burin et la lithographie, pourtant récente, ne sont plus les seuls moyens de reproduire les tableaux, et l'eau-forte renaît. Dès ses premiers Salons, Baudelaire est attentif aux différents procédés. Vers 1859-1862, son action et ses articles en faveur de Charles Meryon et de la Société des aquafortistes font de lui un des principaux défenseurs de l'eau-forte originale. Après avoir acheté dans sa jeunesse des tableaux anciens, Baudelaire constitue alors une collection importante d'estampes, en rapport avec son activité de critique d'art. D'un autre côté, l'essai sur le rire, ceux sur les caricaturistes français et sur les caricaturistes étrangers, ainsi que les projets d'articles sur « L'Art philosophique » et les « Peintres de mœurs » sont entièrement ou en partie inspirés par des estampes. Ces textes donnent à Baudelaire l'occasion de poser des questions de poétique et d'esthétique, – le statut de l'artiste comique, la beauté de l'éphémère et la trivialité en art, par exemple. Comme les poèmes inspirés d'estampes, ils montrent aussi la façon dont le poète met à l'épreuve le sens des images. La dernière partie de notre travail est consacrée à l'histoire des frontispices dont Baudelaire voulut faire orner plusieurs de ses œuvres, et en particulier à celui qu'il projetait de donner à la deuxième édition des Fleurs du mal. / The invention of photography drastically changed the world of printing between 1850 and 1865. Lithography – though recent – and engraving were no longer the only means to reproduce paintings – etching came back to life. Since his first Salons, Baudelaire had been interested in these different techniques. Around 1859-1862, he became one of the key figures in the defense of original etching through his action and his articles in favour of Charles Meryon and the Société des Aquafortistes. After having bought antique paintings in his youth, Baudelaire built up a large collection of prints – in relation to his activity of art critic. Besides, his essay on laughter, the ones on French caricaturists and on foreign caricaturists, as well as his drafts of articles on “L’Art philosophique” and the “Peintres de mœurs” are entirely or partly inspired by prints. These texts gave Baudelaire the opportunity to raise issues of poetics and aesthetics, such as the position of the comic artist, the beauty of transience and triviality in art. Like his poems inspired by prints, they also show how the poet questions the meaning of images. The final part of this work is devoted to the history of frontispieces which Baudelaire wanted to use to illustrate several of his works with, and more particularly the one he planned to illustrate the second edition of Les Fleurs du mal with.

A Tese Confissões | Não | Declaradas apresenta um conjunto de experimentos poéticos realizados entre 2011 e 2015, cujo foco toma o corpo - para além do masculino e feminino - como subjetividade encarnada. Neles estão incorporadas tanto as investigações no campo das práticas artísticas quanto as reflexões no plano conceitual. A criação de campos sensórios em desenhos, esculturas, fotografias, gravuras e videoperformances refere-se às práticas artísticas. Já o desenvolvimento ensaístico do texto sobre as noções de corpo e sua conversão em imagem - de subjetividade como objeto de encarnação e de corpo fluido em estado artístico - remete ao plano conceitual em que os resultados dos experimentos poéticos se rebatem e se multiplicam. Como desdobramento disso, ainda são desencadeadas ideias sobre questões de gênero na interação erótica e, numa outra perspectiva, são desenvolvidas reflexões sobre o sujeito múltiplo metaestável como resultante de um processo de individuação contínuo. A metodologia que está na base dos experimentos poéticos é a pesquisa da sensação, porém empreendida com o objetivo de criar zonas estéticas capazes de dissolver formas corporais culturalmente crista / This thesis, entitled Confessions | Not | Declared, presents a series of artistic experiments conducted between 2011 and 2015, focusing on the human body beyond the categories of male and female, taken as embodied subjectivity. These experiments embody both artistic practice-based research and theoretical considerations. Artistic practice refers to the creation of sensory fields in drawings, sculptures, photographs, prints and video performances. The theoretical analysis examined some notions of the human body converted into image: the notion of incarnated subjectivity and the notion of a flowing body in artistic state, and how these concepts related to the artistic experimentation. Furthermore, both ideas on gender issues in erotic interaction and, from a different perspective, reflections on a metastable, multiple subject resulting from a continuous process of individuation, were considered. Sensation research was the methodology underpinning the artistic experiments. With this approach, aesthetic zones were created that dissolved culturally constructed notions of human body forms, and the images produced, rather than mere images, were infused with story-telling power.

Trata-se da produção de gravuras em metal, gravadas sobre cobre, com os procedimentos da água-forte, água-tinta, buril e ponta seca, estampadas em papéis diversos. Todas as gravuras foram produzidas a partir da observação da realidade captada de lugares visitados, na tentativa de apreendê-los em diferentes níveis. Registradas por anotações desenhadas e gravadas diretamente na matriz envernizada, foram posteriormente reinventadas no ateliê, com atenção às qualidades de linguagem e às especificidades do meio de produção da gravura em metal. / It is the production of metal engravings, etched on copper, with the procedures of etching, aquatint, burin and drypoint, printed in diverse papers. All prints were produced from the observation of reality captured in places visited, in the attempt to apprehend them in different levels. Registered by delineated annotations or recorded directly in the varnished matrix, were subsequently reinvented in the studio, with attention to the quality of language and the specificities of the means of production of metal engraving.

De prata e de tinta tem como corpo principal um álbum com 25 pranchas de impressões originais de imagens fotográficas produzidas em sistema digital entre 2011 e 2013 e procura ressaltar como a aproximação a este meio viabilizou a junção de valores relativos à luz, aos pigmentos e ao suporte em obras que investigam os limites da subtração da cor para que o espaço possa se revelar nas modulações de cinzas. / Of silver and ink comprises a main body of 25 original prints of digital photographic images produced between 2011 and 2013. This piece seeks to highlight the use of the photographic medium to blend values relative to light, pigment and the support. These prints investigate the extent to which the subtraction of color can unveil the presence of space from increasingly grayer modulations.

Trata-se da produção de gravuras em metal, gravadas sobre cobre, com os procedimentos da água-forte, água-tinta, buril e ponta seca, estampadas em papéis diversos. Todas as gravuras foram produzidas a partir da observação da realidade captada de lugares visitados, na tentativa de apreendê-los em diferentes níveis. Registradas por anotações desenhadas e gravadas diretamente na matriz envernizada, foram posteriormente reinventadas no ateliê, com atenção às qualidades de linguagem e às especificidades do meio de produção da gravura em metal. / It is the production of metal engravings, etched on copper, with the procedures of etching, aquatint, burin and drypoint, printed in diverse papers. All prints were produced from the observation of reality captured in places visited, in the attempt to apprehend them in different levels. Registered by delineated annotations or recorded directly in the varnished matrix, were subsequently reinvented in the studio, with attention to the quality of language and the specificities of the means of production of metal engraving.

<i>Double Vision: A practice- led investigation of art and differential perception</i> is a series of five interrelated practice-led research studies into artistic expression controlling perceptual experiences between audiences of varying visual acuities. Significant refinements  occurred between the first and second, and second and third studies. The last four studies were conducted with the aim of understanding vision’s influence on perception. <i>Double Vision’s</i> lead methodological approach was artistic practice. Other methods were employed according to the needs of that practice. They included iteration, collaboration, exhibition and testing. The research questions of <i>Double Vision</i> were refined in response to the results of artistic practice. That evolution resulted in two interrelated questions: <i>Can artwork be intentionally created to be experienced differently dependent on one’s visual abilities? </i>and<i> If so, can those experiences be shared?</i> A further question, <i>‘Can an analogy to colour deficient vision be created that engages both those with colour vision deficiency and the typically sighted?’, </i>concludes the investigations. Artwork was realized through printmaking, animation and multimedia formats. Its context and content derived from many forms, notably the Ishihara <i>Test for Colour Deficiency</i>, writings of William Blake, contemporary music and philosophy. Augmented reality was employed to facilitate the translation of visual perceptions between targeted audiences. A number of exhibitions were held exploring these themes.