Backwards Forward
8 x 8 inches | 20.3 x 20.3 cm
Acrylic on linen over panel, 2024
For my show Shallow Water, I found inspiration in the myth of Diana and Actaeon. Diana is an outlier in the way women and goddesses are typically portrayed in ancient myths. She fiercely protects her sacred space, and her strength comes from her autonomy—her ability to navigate the world on her own terms. When Actaeon intrudes upon her domain, her response is both swift and resolute. She isn’t portrayed as a victim; rather, her beauty or femininity doesn’t imply any weakness. Instead, Diana embodies strength in her unyielding protection of herself and her world. Alongside this myth, I was also inspired by Ingmar Bergman’s The Virgin Spring, where themes of action, consequence, and duality are explored with nuance and depth.
As I reflected on the tensions in our current political landscape and the ongoing quest for women’s autonomy, I found that a central theme for this body of work had to focus on intrusion and the delicate balance of boundaries—those moments when space or authority is crossed, and how these actions ripple outward. The myth resonated with me because it speaks to the complexity of boundaries and the natural responses they elicit. For me, this myth wasn’t just a story from the past; it became a framework to engage with timeless questions around personal space, respect, and the balance of power. It also offered a way to process these themes within the context of nature and opulence—two elements that are intrinsically tied to ideas of balance, preservation, and the subtle forces that disrupt them.
In creating this body of work, I wanted to explore both action and stillness. It begins with Private Eyes, where Diana is bathing, her peace disrupted as she notices prying eyes. There’s a quiet tension in the moment, a stillness that invites reflection. The Hunt shows the unfolding of that tension—an escalation, as a dog captures a two-headed swan. The swan itself represents duality—it symbolizes the balance between light and dark, good and evil, masculine and feminine. This image resonates with the myth of Diana, whose connection with her animals—her dogs—reflects a bond of instinctual protection and loyalty. Finally, in Trophy, we see the consequence of that action, as the swan is displayed, a reminder of the delicate balance between hunter and hunted, power and vulnerability.
A key element I wanted to convey in the work is the tension between the gazes within the scenes. These gazes activate the narrative, hiding within the natural elements, disguised among the flowers or veiled in shadow. They are not aggressive but quietly observe, inviting reflection on the nature of looking and being looked at. The figures in the paintings react—shock, ambivalence, or contemplation. There are also surreal, understated faces hidden within the elements, making subtle contact with the viewer. As seen in Private Eyes, with the face on Diana’s torso, in Trophy the eyes on the moth’s wings, or the crooked Cheshire smile of the melon in Symphony, varying degrees of contact and communication unfold in each frame, inviting the viewer to engage in a more layered interaction with the work.
Water is another recurring theme throughout the work, carrying both cleansing and ambiguous symbolism. Shallow water, in particular, suggests a false sense of safety—a surface calm that may conceal deeper complexities. In both Diana and Actaeon and The Virgin Spring, water plays a key role, almost as a character in itself. Its presence reflects both the purity and complexity of nature, shaping the narrative and the forces at play within each scene. In these works, water becomes a metaphor for boundaries—those we create and those we encounter, both natural and self-imposed—and for the tension that arises when they are crossed.
