Last year I began painting hands after working with the full figure. I was intrigued by the change in scale as well as a new found sensuality because they are expressive and fleshy. Hands reflect human emotion and hand gestures themselves can express an unlimited variety. A finger or knuckle may suggest a leg or arm and can make unpredictable shapes and spaces. It allows me a different kind of exploration into the interplay between light and forms. Light serves as an element creating emotional tone .We use hands to express emotional states like comfort as well as fight and harm. Through obscured identity, closely cropped hands and fragmented shadows, the paintings provoke a contemplation of the enigma of gesture.

My paintings explore the interplay between light, form, and the female body through light situations that play on the nude or flesh and hand self self portraits in various ways.

My self portraits challenge society's false constructs about age. Not ignoring but not focused on the sexual implications, the paintings delve into the deeper realm of embodiment and self-exploration. The strategic use of light patches becomes a crucial element in deciphering the demonstrated psychological state portrayed. Light, in its capacity to both illuminate and obfuscate, becomes an agent of revelation. Through obscured identities, closely cropped anatomy, fragmented shadows, and blinding light, the paintings provoke contemplation of the multifaceted nature of identity and the enigmatic relationship between light and self. This correlation assumes paramount importance, as I deliberately reduce extraneous elements to accentuate the subject's psychological impact.

The work is explores the female figure as a vessel of expression and the profound interdependence between light and design principles. The paintings beckon viewers to reflect on the multifaceted nature of "the gaze" and the transformative potential of light.