Raised by a nurse and a realtor in a post-industrial town, I was imbued from a young age with an affection for both the body and the home. Growing up surrounded by Victorian architecture that was oozing with a façade of wealth and prosperity, I have found myself continually mining the visual expressions of accumulated excess. Victorian homes evoke feminine imagery often with an emphasis on sexuality and death. These opulent, excessive floral motifs make their way into my work encrusting and engulfing forms extracted from the body. Abstracted legs, breasts, and twisted torsos recur, dripping and expelling various textiles. These forms, frozen in domestic materials that have been transformed from their original existence, become a strange amalgamation of both life and death. Imparting a personality into these objects, I begin to unfold my history through their forms and veneers. Dialogues of femininity, domesticity, abuse, abortion, and reproduction are expressed through knotted, folded, and twisted materials. I often use upholstery and insulation foams coated in joint compound, which I then paint and adorn with caulk. The unstable, soft, flexible materials are coated in a hard yet also unstable material; the rigidity merely a mask, as with the slightest bit of movement or pressure the rough exterior coating will crack. The precariousness of each work’s exterior becomes a metaphor for the many shells we place on and carry everyday.