oil on panel

24”L x 30”W

2026

The origin of the Servitude body of work was inspired by a photograph of a wall, vandalized with the phrase, “I have cooked for men I should’ve poisoned.” Throughout history, we have witnessed and suffered the impact of turning the other cheek to those with eminent power and dominance.

The objects depicted in these works are domestic, historically representing the presence of a woman and the roles women play, both in the home and society at large. Exploring the concept of servitude begs us to question those serving, who they serve, and how this situation came to be. 

These domestic materials are transformed into narrative objects and invisible caretakers' experiences are highlighted through messages of objects once worn, held, or created in an environment of hierarchy.

This work reframes the labor of service as an act of resilience and resistance. We are able to reconsider the everyday tools of labor as objects that reflect care, exhaustion, silence, and strength. While these objects may appear mundane, they carry powerful subtexts about control, suggesting who is expected to serve, clean, host, heal, and keep quiet.

This series tells familiar stories of dominance, oppression, and domesticity, but ending in liberation, violence, and truth.

Oil on panel

24”L x 30”W

2026

The origin of the Servitude body of work was inspired by a photograph of a wall, vandalized with the phrase, “I have cooked for men I should’ve poisoned.” Throughout history, we have witnessed and suffered the impact of turning the other cheek to those with eminent power and dominance.

The objects depicted in these works are domestic, historically representing the presence of a woman and the roles women play, both in the home and society at large. Exploring the concept of servitude begs us to question those serving, who they serve, and how this situation came to be. 

These domestic materials are transformed into narrative objects and invisible caretakers' experiences are highlighted through messages of objects once worn, held, or created in an environment of hierarchy.

This work reframes the labor of service as an act of resilience and resistance. We are able to reconsider the everyday tools of labor as objects that reflect care, exhaustion, silence, and strength. While these objects may appear mundane, they carry powerful subtexts about control, suggesting who is expected to serve, clean, host, heal, and keep quiet.

This series tells familiar stories of dominance, oppression, and domesticity, but ending in liberation, violence, and truth.

Oil on panel

24”L x 30”W

2026

The origin of the Servitude body of work was inspired by a photograph of a wall, vandalized with the phrase, “I have cooked for men I should’ve poisoned.” Throughout history, we have witnessed and suffered the impact of turning the other cheek to those with eminent power and dominance.

The objects depicted in these works are domestic, historically representing the presence of a woman and the roles women play, both in the home and society at large. Exploring the concept of servitude begs us to question those serving, who they serve, and how this situation came to be. 

These domestic materials are transformed into narrative objects and invisible caretakers' experiences are highlighted through messages of objects once worn, held, or created in an environment of hierarch

This work reframes the labor of service as an act of resilience and resistance. We are able to reconsider the everyday tools of labor as objects that reflect care, exhaustion, silence, and strength. While these objects may appear mundane, they carry powerful subtexts about control, suggesting who is expected to serve, clean, host, heal, and keep quiet.

This series tells familiar stories of dominance, oppression, and domesticity, but ending in liberation, violence, and truth.