AVAILABLE ON REQUEST
POSTER
Medium: Digital print
Size: A3 [297 x 420 mm]
Paper: 190gr
Original Medium: Fine liner ink on paper [500×700 mm]
This work is an iterative exploration of the friction between the feminine ideal and the mechanical reality of survival.
Through 40 hours of meticulous ink work, I have documented the metamorphosis of a woman from a "vessel" of societal expectation into a sovereign of her own reality.
Visually, the piece exists at the jarring intersection of Roy Lichtenstein’s pop-art "happily ever after" and the biomechanical weight of H.R. Giger.
It represents the duality of the modern woman: the polished exterior we are taught to maintain, and the cold, industrial grit required to endure emotional abuse, financial instability, and the exhaustion of starting from zero. We are often expected to function like high-performance machines -to provide, to nurture, and to endure while navigating deep internal wounds.
This auto portrait captures that "invisible labor." The mechanical elements are not just aesthetic; they are the armor we build when we are forced to grow up too fast.
The inclusion of the manifested items and the optical illusions serve as anchors to the physical and metaphysical homes I have built for myself. Ultimately, this is a study of power reclamation. The "Princess" in this work is not a figure to be saved, but a warrior who has decided that her needs, her excellence, and her light are non-negotiable. It is a refusal to be "broken" by the machine, and a declaration that even in the face of harm, we can choose elegance, self-respect, and justice.
I am not a victim of the game. I am the architect of the sanctuary.
Does not include a frame.
AVAILABLE ON REQUEST
POSTER
Medium: Digital print
Size: A3 [297 x 420 mm]
Paper: 190gr
Original Medium: Fine liner ink on paper [500×700 mm]
This work is an iterative exploration of the friction between the feminine ideal and the mechanical reality of survival.
Through 40 hours of meticulous ink work, I have documented the metamorphosis of a woman from a "vessel" of societal expectation into a sovereign of her own reality.
Visually, the piece exists at the jarring intersection of Roy Lichtenstein’s pop-art "happily ever after" and the biomechanical weight of H.R. Giger.
It represents the duality of the modern woman: the polished exterior we are taught to maintain, and the cold, industrial grit required to endure emotional abuse, financial instability, and the exhaustion of starting from zero. We are often expected to function like high-performance machines -to provide, to nurture, and to endure while navigating deep internal wounds.
This auto portrait captures that "invisible labor." The mechanical elements are not just aesthetic; they are the armor we build when we are forced to grow up too fast.
The inclusion of the manifested items and the optical illusions serve as anchors to the physical and metaphysical homes I have built for myself. Ultimately, this is a study of power reclamation. The "Princess" in this work is not a figure to be saved, but a warrior who has decided that her needs, her excellence, and her light are non-negotiable. It is a refusal to be "broken" by the machine, and a declaration that even in the face of harm, we can choose elegance, self-respect, and justice.
I am not a victim of the game. I am the architect of the sanctuary.
Does not include a frame.
