Too Much Women
My work explores recovery from Borderline Personality Disorder and the tension between lived feminism and how women are represented online. It’s about fragmentation, how identity feels performed, unstable, and constantly shifting.
The Renaissance painting:
In Renaissance portraiture, women were painted as ideals: still, perfect, contained. I cut into that perfection and insert my own face alive, emotional, unstable. Living with BPD means existing in pieces, and in that rupture I find power: a feminist break in the calm surface of art history, and a reflection of how identity performs itself in our online, overexposed world. I love how I look like im trapped in the painting.
The Peaceful Scene sleeping painting by Klimt . I painted a Klimt-inspired painting, ornate gilded and impossibly serene, yet I interrupt it with my own head emerging through the canvas, blurring the line between subject and creator, artwork and artist, ideal and reality.
The Tracey Emin style painting: In this work, I’ve recreated a painting in the style of Tracey Emin, an artist I once studied and, in some way, tried to become. I cut a hole in the painted face and inserted my own head, merging myself with the image, as if by stepping into her world I might finally be seen.The work explores the fragmentation of identity following my diagnosis of borderline personality disorder, and the desperate pursuit of artistic success. I perform a version of myself, a depressed self caught between ambition and illness, visibility and erasure. Making art is both a breakdown and a form of therapy, a way to process what feels impossible. Like many artists, I live in that bittersweet tension where creation and self-destruction coexist.
