My interests engage with failure as a means of potentiality. Inherently entwined with queerness, the process of undoing, dismantling and unbecoming offers other creative ways of being and a resistance toward traditional, patriarchal and heteronormative processes of success. Amputating earlier figures from inactive paintings I had previously created, heftier painterly montages manifest that combine multiple disciplines, an impulsive and liberating process that expresses fluid perspective. In accordance, I consider “frames”: Within an artistic context, a canvas frame is what is expected to be used by a fine art painter or framing an artwork once it is complete as a symbol of absoluteness, which my work fails to be. Altering the frame’s purpose and physical presence becomes a refusal of this expectation. Alternatively, in the everyday sense, I think about the “frame” in terms of windows. They accidentally frame intimate and private moments when looking in, but simultaneously frame scenes outside that can be beautiful or busy, capturing moments on a wider spectrum in a public way. They are thresholds that offer drastically diverse transitional narratives, that will alter depending on where the observer is situated. Using these makeshift windows to haphazardly frame figures, visual and metaphysical tensions ensue where the observer becomes voyeur. Externally viewing intimate and vulnerable moments from an outsider’s position. This leads into themes surrounding duality: private and public space, and additionally, that of the self. The work sits in the ambiguous space between the two and becomes an echo of conflicted relationships that I have with vulnerability, to sexuality and gender, voyeurism, negotiation of bodies and the very act of painting.