oil on panel (framed)

12”L x 12”W

2026

For women around the world, unwanted whistles, and propositions on the street are extremely common. This act is often intimidating,  demeaning, and can lead to life-threatening situations. When men are asked why they harass women in this manner, they often say it is simply a form of entertainment.

oil on panel

24”L x 30”W (framed)

2026

The historical insert in the upper right-hand corner of the painting includes portions of Elisabetta Sirani's painting, Portia Wounding Her Thigh, 1664. It depicts Brutus' wife, Portia, who inflicts a wound on her thigh. This act was intended to prove her undying servitude, loyalty to Brutus. She was proving she had the ability to keep her wound a secret and endure the pain with patience. Portia ultimately took her own life by eating hot coals. 

One can’t help see the parallels of women in politics currently sacrificing themselves for a self-serving traitor.

Oil on panel

24”L x 30”W (framed)

2026

We have witnessed and suffered the impact of turning the other cheek to those with eminent power and dominance. The title of this work was seen spray painted on a wall in Europe- affirming worldwide oppression and threats of a new future. This work includes a slice of Peter Paul Rubens', The Fall of the Damned, 1621, a painting that immerses us in the terrifying descent of those meeting their fate.

oil on panel

30”L X 24”W

2026

This work depicts a portion of Elisabetta Sirani’s Timoclea Killing Alexander’s Captain (1659), Timoclea takes revenge against her rapist, Captain Alexander the Great. After raping Timoclea, the captain demanded that she give him her valuables. She tricked him into searching for them in a well, pushed him in and killed him by dropping large stones on him.

Oil on panel

24”L x 30”W (framed)

2026

The ribbon candy in the serving bowl references the trial of artist Artemisia Gentileschi and her mentor and assailant, Agostino Tassi, who are portrayed in the upper right-hand corner of the painting. Under his guidance and care, Tassi raped 18 year old Gentileschi. When she filed suit against him she was tortured using cords wrapped around her fingers and pulled tight. Despite this torture she persevered, her story was ultimately believed but Tassi was pardoned by Pope Paul V.

Included in this work are excerpts of Gentileschi’s paintings Judith and Her Maidservant, 1613 and Self-Portrait as the Allegory of Painting, 1638.

oil on canvas

34”L x 55”W

2026

Artemisia Gentileschi’s Judith and Her Maidservant with the Head of Holofernes, 1621 shows the aftermath of a murder. Judith, a beautiful young widow, resolves to save her people by slaying Holofernes herself. She dons her finest clothes in order to seduce him. After Holofernes has drunk enough wine to become intoxicated, Judith decapitates him with his own sword.

monoprint mounted on panel

9.5”L x 7.5”W x 1.5”D

2026

My relationship with Barbie has always been positive. I was never concerned nor affected by her “unrealistic beauty standards.” From a very young age my sister and I had Barbies but more importantly we had her accessories. These accessories included her sports car, her horse, her mobile home, her apartment, her McDonalds, her ice cream truck; not to mention all the clothes, shoes, and purses. 

My mom raised us to understand Barbie was a powerful woman, worthy of respect because she was independent, strong, and self-sufficient. We understood she had created her own life and nothing was given to her. That being said, Ken was an afterthought. His role was tertiary, at best. When we questioned his relationship to Barbie my mom said, “Think of him as an accessory. If he makes Barbie look good and feel good, he can stick around, but as soon as he doesn’t, he gets left behind.” 

monoprint mounted on panel

7.5”L x 9.5”W x  1.5”D

2026

My relationship with Barbie has always been positive. I was never concerned nor affected by her “unrealistic beauty standards.” From a very young age my sister and I had Barbies but more importantly we had her accessories. These accessories included her sports car, her horse, her mobile home, her apartment, her McDonalds, her ice cream truck; not to mention all the clothes, shoes, and purses. 

My mom raised us to understand Barbie was a powerful woman, worthy of respect because she was independent, strong, and self-sufficient. We understood she had created her own life and nothing was given to her. That being said, Ken was an afterthought. His role was tertiary, at best. When we questioned his relationship to Barbie my mom said, “Think of him as an accessory. If he makes Barbie look good and feel good, he can stick around, but as soon as he doesn’t, he gets left behind.” 

oil on panel

30”L x 24”W x 1.5”D

2026

My relationship with Barbie has always been positive. I was never concerned nor affected by her “unrealistic beauty standards.” From a very young age my sister and I had Barbies but more importantly we had her accessories. These accessories included her sports car, her horse, her mobile home, her apartment, her McDonalds, her ice cream truck; not to mention all the clothes, shoes, and purses. 

My mom raised us to understand Barbie was a powerful woman, worthy of respect because she was independent, strong, and self-sufficient. We understood she had created her own life and nothing was given to her. That being said, Ken was an afterthought. His role was tertiary, at best. When we questioned his relationship to Barbie my mom said, “Think of him as an accessory. If he makes Barbie look good and feel good, he can stick around, but as soon as he doesn’t, he gets left behind.” 

monoprint mounted on panel

11”L x 14”W

2026

My relationship with Barbie has always been positive. I was never concerned nor affected by her “unrealistic beauty standards.” From a very young age my sister and I had Barbies but more importantly we had her accessories. These accessories included her sports car, her horse, her mobile home, her apartment, her McDonalds, her ice cream truck; not to mention all the clothes, shoes, and purses. 

My mom raised us to understand Barbie was a powerful woman, worthy of respect because she was independent, strong, and self-sufficient. We understood she had created her own life and nothing was given to her. That being said, Ken was an afterthought. His role was tertiary, at best. When we questioned his relationship to Barbie my mom said, “Think of him as an accessory. If he makes Barbie look good and feel good, he can stick around, but as soon as he doesn’t, he gets left behind.” 

monoprint mounted on panel

12”L x 12”W

2026

My relationship with Barbie has always been positive. I was never concerned nor affected by her “unrealistic beauty standards.” From a very young age my sister and I had Barbies but more importantly we had her accessories. These accessories included her sports car, her horse, her mobile home, her apartment, her McDonalds, her ice cream truck; not to mention all the clothes, shoes, and purses. 

My mom raised us to understand Barbie was a powerful woman, worthy of respect because she was independent, strong, and self-sufficient. We understood she had created her own life and nothing was given to her. That being said, Ken was an afterthought. His role was tertiary, at best. When we questioned his relationship to Barbie my mom said, “Think of him as an accessory. If he makes Barbie look good and feel good, he can stick around, but as soon as he doesn’t, he gets left behind.” 

monoprint mounted on panel

9.5”L x 7.5”W x 1.5”D

2026

My relationship with Barbie has always been positive. I was never concerned nor affected by her “unrealistic beauty standards.” From a very young age my sister and I had Barbies but more importantly we had her accessories. These accessories included her sports car, her horse, her mobile home, her apartment, her McDonalds, her ice cream truck; not to mention all the clothes, shoes, and purses. 

My mom raised us to understand Barbie was a powerful woman, worthy of respect because she was independent, strong, and self-sufficient. We understood she had created her own life and nothing was given to her. That being said, Ken was an afterthought. His role was tertiary, at best. When we questioned his relationship to Barbie my mom said, “Think of him as an accessory. If he makes Barbie look good and feel good, he can stick around, but as soon as he doesn’t, he gets left behind.” 

porcelain and resin

3” x 5” x 5”

2026

The expression, “storm in a teacup,” refers to an event that’s been exaggerated out of proportion. Despite all the changes women have made in the workforce, women earn an average of 85% of what men earn. Each teacup in this series serves up a destructive storm named after a woman (who was undoubtedly not taken seriously and found herself in servitude of some sort)

porcelain and resin

2026

The expression, “storm in a teacup,” refers to an event that’s been exaggerated out of proportion. Despite all the changes women have made in the workforce, women earn an average of 85% of what men earn. Each teacup in this series serves up a destructive storm named after a woman (who was undoubtedly not taken seriously and found herself in servitude of some sort).

porcelain and resin

2026

The expression, “storm in a teacup,” refers to an event that’s been exaggerated out of proportion. Despite all the changes women have made in the workforce, women earn an average of 85% of what men earn. Each teacup in this series serves up a destructive storm named after a woman (who was undoubtedly not taken seriously and found herself in servitude of some sort).

porcelain and resin

2026

The expression, “storm in a teacup,” refers to an event that’s been exaggerated out of proportion. Despite all the changes women have made in the workforce, women earn an average of 85% of what men earn. Each teacup in this series serves up a destructive storm named after a woman (who was undoubtedly not taken seriously and found herself in servitude of some sort).

porcelain and resin

2026

The expression, “storm in a teacup,” refers to an event that’s been exaggerated out of proportion. Despite all the changes women have made in the workforce, women earn an average of 85% of what men earn. Each teacup in this series serves up a destructive storm named after a woman (who was undoubtedly not taken seriously and found herself in servitude of some sort).

porcelain and resin

2026

The expression, “storm in a teacup,” refers to an event that’s been exaggerated out of proportion. Despite all the changes women have made in the workforce, women earn an average of 85% of what men earn. Each teacup in this series serves up a destructive storm named after a woman (who was undoubtedly not taken seriously and found herself in servitude of some sort).

Silver platter, antique lipstick holder, silver chain, red lipstick

36”L x 24”W

2026

Inspired by mirrors in the homes of both Robert Smith and later Dita VonTesse, this handy mirror holds a tube of lipstick as a reminder to always put on your best face before walking out the door. In the Dark Ages, wearing red lipstick was associated with mysterious and frightening femininity. Suffragettes leaders loved red lipstick because men found it shocking. Protesters continue to paint their lips red as a sign of liberation and rebellion.

monoprint mounted on wood board with acrylic

6.25”L x 13.5”W x 0.75”D

2026

Invisible labor is the unseen, unacknowledged mental, emotional, and physical work required to keep a household, workplace, or any environment running smoothly. It is most often performed by women and racial minorities or both. There are significant social expectations about how a house should be run and should look and the burden for meeting these expectations often falls on women. These tasks aren’t traditionally recognized as “work” but require significant time, energy, and emotional investment. With this work I seek to serve this invisible labor up for display.

monoprint mounted on wood board with acrylic

12”L x 12”W x 0.75”D

2026

Invisible labor is the unseen, unacknowledged mental, emotional, and physical work required to keep a household, workplace, or any environment running smoothly. It is most often performed by women and racial minorities or both. There are significant social expectations about how a house should be run and should look and the burden for meeting these expectations often falls on women. These tasks aren’t traditionally recognized as “work” but require significant time, energy, and emotional investment. With this work I seek to serve this invisible labor up for display.

monoprint mounted on wood board with acrylic

11”L x 13.5”W x 0.75”D

2026

Invisible labor is the unseen, unacknowledged mental, emotional, and physical work required to keep a household, workplace, or any environment running smoothly. It is most often performed by women and racial minorities or both. There are significant social expectations about how a house should be run and should look and the burden for meeting these expectations often falls on women. These tasks aren’t traditionally recognized as “work” but require significant time, energy, and emotional investment. With this work I seek to serve this invisible labor up for display.

monoprint mounted on wood board with acrylic

11”L x 8”W x 0.75”D

2026

Invisible labor is the unseen, unacknowledged mental, emotional, and physical work required to keep a household, workplace, or any environment running smoothly. It is most often performed by women and racial minorities or both. There are significant social expectations about how a house should be run and should look and the burden for meeting these expectations often falls on women. These tasks aren’t traditionally recognized as “work” but require significant time, energy, and emotional investment. With this work I seek to serve this invisible labor up for display.

monoprint mounted on wood board with acrylic

8.5”L x 11”W x 0.75”D

2026

Invisible labor is the unseen, unacknowledged mental, emotional, and physical work required to keep a household, workplace, or any environment running smoothly. It is most often performed by women and racial minorities or both. There are significant social expectations about how a house should be run and should look and the burden for meeting these expectations often falls on women. These tasks aren’t traditionally recognized as “work” but require significant time, energy, and emotional investment. With this work I seek to serve this invisible labor up for display.

monoprint mounted on wood board with acrylic

8”L x 10.5”W x 0.75”D

2026

Invisible labor is the unseen, unacknowledged mental, emotional, and physical work required to keep a household, workplace, or any environment running smoothly. It is most often performed by women and racial minorities or both. There are significant social expectations about how a house should be run and should look and the burden for meeting these expectations often falls on women. These tasks aren’t traditionally recognized as “work” but require significant time, energy, and emotional investment. With this work I seek to serve this invisible labor up for display.

monoprint mounted on wood board with acrylic

10”L x 7.5”W x 0.75”D

2026

Invisible labor is the unseen, unacknowledged mental, emotional, and physical work required to keep a household, workplace, or any environment running smoothly. It is most often performed by women and racial minorities or both. There are significant social expectations about how a house should be run and should look and the burden for meeting these expectations often falls on women. These tasks aren’t traditionally recognized as “work” but require significant time, energy, and emotional investment. With this work I seek to serve this invisible labor up for display.