In fashion photography, the wire-frame dummy of a model’s body is digitally mapped with pores, gleams and hairs. I think of my work as a hallucination of these skins of detail. I multiply, distend, and otherwise allow these familiar textures to metastasize.

In a darkened studio, I paint from observation of stage-lit handmade models. This practice runs parallel to beauty, culture’s recommendation that we obsessively manage the details of our body. As if I have taken this suggestion too far, figures in my paintings and sculptures become excessively “surfaced,” as if a zealous attention to the body has caused an external overabundance. The borders between blemish, ornament, and armor become confused; these humanoid figures suggest the flaunting of growths and trauma as fashion.