Don't Be Such A Square: 4

Made in March 2026 at my studio in Manchester, New Hampshire, this self-portrait video reimagines the language of haunting through a handmade, sculptural lens. Draped in lace and isolated against dark curtains, the figure becomes less a person than an apparition—an object of memory, ritual, and emotional projection. My practice often merges self-portraiture with costume, performance, and set construction, and this work distills those concerns into a pared-down but potent image. The veil is central: delicate yet concealing, domestic yet spectral, familiar yet destabilizing. It transforms the body into an anonymous monument, allowing the work to exist between portrait, relic, and stage presence. The importance of the piece lies not only in its atmosphere, but in its authorship. I construct the world, embody the figure, and control the emotional architecture of the frame. Even in its simplicity, the work is dense with intention—proof that a single form, carefully built and inhabited, can carry an entire mythology. 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 as something both fragile and impossible to reach—a body hidden beneath lace, standing still long enough to become a memory before your eyes. The work draws on a universally familiar image, but slows it down until it becomes mournful, strange, and ceremonial. What should feel innocent begins to feel loaded. The veil turns the self into a secret. The body becomes architecture for absence. This piece reflects the core of my practice: building emotional worlds by hand and entering them myself. I’m not documenting a figure; I’m constructing one. Through costume, staging, and embodiment, I create an image that lives somewhere between folklore and self-portrait, tenderness and dread. It is a ghost, but it is also a confession.