The hallowed and often masculinized tradition of painting is subverted in her work through a repeated process of cutting and then sewing painted surfaces together to develop new forms, dynamic connections, and illusions of depth.
Where the stitched edges join, there is a seam, which has both linear and sculptural qualities. The seam acts as a geometric disrupter of curvy ellipses and other organic forms that are carefully rendered and then carved up with alternating precision and chance. The ghost of those cut edges has its own presence. Where the fabric overlaps in the reverse of the painting, a slightly more opaque path is traced, issuing a new element whose origin is not at first apparent.