I’m interested in still life—the simple combination of foreground, background, and object—as a way of exploring how image making transforms a subject into an object. The history of painting is flooded with images of women who have been distilled down to an object of reverence, something to be coveted and consumed. More recently, pop culture delivers a deluge of images of women off balance, cut up, twisted, and prone. Femininity is prescribed through images, and consistently presents itself as contradictions: strong yet broken, upright yet cut down. Advertising uses flowers as a stand in for femininity, so much so that the simple combination of a woman’s face and a single rose is the basis for most perfume ads. There’s humor in this simplification, yet any form of extreme distillation has an inherent violence. In my recent work, I play with this idea of flowers representing the female body, and by incorporating moments of rupture and fantasy, I seek to consider a counter-femininity that is powerful, self-possessed, and disregarding of the viewer’s satisfaction.