Made in March 2026 at my studio in Manchester, New Hampshire, this self-portrait video explores transformation through restraint. The figure is bent inward, draped in pale ornament against a dark theatrical field, creating an image that feels ceremonial, intimate, and quietly devastating. Rather than relying on spectacle, the work draws its force from stillness, tension, and the emotional charge of embodied form.
My practice often merges self-portraiture with sculpture, costume, set design, and performance, and this piece distills those interests into a pared-down but potent visual language. Every decision is deliberate. The body becomes an object of composition and feeling; the fabric becomes both costume and architecture; the image becomes a place where vulnerability and myth coexist.
What matters to me is the devotion embedded in the making. I do not simply record myself—I construct a presence. In that way, the work becomes both portrait and artifact: a handmade psychological space where beauty, sorrow, and transformation are held in suspension.
And here’s a darker, more poetic version:
In this self-portrait video, created in March 2026 at my studio in Manchester, New Hampshire, I appear less as a character than as a remnant—bent, draped, and half-withdrawn, like something fragile surviving its own ceremony.
The piece is built from stillness and weight. The body folds inward. The fabric carries history. The stage becomes a quiet chamber for grief, surrender, and metamorphosis. I’m interested in how little movement is needed to create unease, and how a self-portrait can become less about likeness than about presence.
This work reflects the core of my practice: building entire emotional worlds through hand-made image construction. Even in its restraint, it carries deep labor—concept, styling, embodiment, atmosphere, and control. It is not simply a video of me, but a transformation performed through design.
What remains is something between a portrait and a ghost.
