My work is influenced predominantly by feminist and queer theory, art history, and a personal dedication to abstraction. Using theory as a lens to critique the modernist canon and challenge hetero-masculine conventions, I investigate where the work I make exists within these histories. There is an element of camp that is always considered, a high/low relationship between the convention I am referencing and the queerness of my distortion to it. In this painting, I am taking the grid, a formal modernist totem, and asserting it into a queerspace. Blurring its edges, knocking it off-kilter, and pushing it further back into the painting’s physical space, having it function no longer as a concrete structure but rather a variable actor within the image. This sense of destabilization is reinforced in how I contend with the picture plane, building out the canvas and inserting contradictory spacial relations and shifts in depth. Living in this historic moment of such disorder and uncertainty, rethinking, challenging, and queering the conventions of abstraction seems more important to me now than ever before.