I begin by drawing and painting on an image from a porn or fashion magazine page. I then use scissors and tape to further separate the image from this context/environment. A new image is born from these parts, most of which belong to my longtime friend Nikie, who modeled in the early 2000s. The pair of hands, the foot in a shoe, those are all Nikie’s. 

It felt like breaking the rules to match up the paintings and fabric works-- they had only ever existed as two separate things. The paintings are windows, while the fabric works have a rich physicality. When I saw them together, I noticed two different responses: the paintings are heady, and the fabric has a physical response, more typical of sculpture.

In this show, I attached smaller forms of these paintings at the bustline of the garment. So aside from the collage element of the paintings, I cut and pasted them from the white wall, where one conventionally will see work, to the dress.

Consider the cliché of the man that stares at a woman’s breasts instead of looking in her eyes. This show includes paintings depicting a female body stuck on the body of an implied feminine chest. I figure if you really want an audience to look at something – stick it on the chest of a female figure. So that’s what I did with my paintings.