My artistic practice examines the historical and ongoing intersections of race, gender, and geopolitical structures in relation to the natural world, with particular focus on the constructed dichotomy between “natural” and “unnatural.” Working exclusively in oil painting, I employ the medium’s material properties to investigate how systems of power—including colonialism, patriarchy, and racial capitalism—have shaped perceptions and manipulations of both human and environmental subjects.
The work engages with critical frameworks from decolonial theory and ecofeminism to interrogate capitalocenic hierarchies and the categorization of agency. Through formal techniques of layering, glazing, and compositional structuring, the paintings visualize the complex relationships between domination and ecological entanglement. The materiality of oil paint—its viscosity, luminosity, and capacity for both precision and obfuscation—serves as a methodological parallel to these conceptual concerns.
Recurring motifs of hybrid forms and morphological ambiguity function to destabilize fixed taxonomies, while historical references within the work are recontextualized to expose the ideological underpinnings of Western landscape traditions. The paintings operate as visual inquiries rather than declarative statements, maintaining a dialectical tension between representation and abstraction, documentation and speculation.
This practice is situated within contemporary discourses that reconsider the role of painting in addressing systemic violence and its material traces. By maintaining rigorous engagement with both art historical conventions and critical theory, the work proposes painting as a site for analytical reflection on the enduring implications of these structures.