Grounded in a queer and feminist consideration of the artist/audience dichotomy, my art surveys vulnerability through themes of touch. “Touch” serves as a foundation from which artistic practice becomes (or remains) reproductive and pleasurable: art that prioritizes the tactility of the making over the endurance of the finished piece. As an embodiment of transformative/transitional touch, I often use the surfaces of skin and cloth as motifs. My choice of materials begins with economic availability and disregards permanence/preservation – reflecting an anti-elitist “low-brow” preference, and referring to temporality and multiplicity through repetition in form and mix-media. My projects foreground, rather than the self/other binary, what can be called “us” – the points of contact between subject matter, audience, and artist: Papier-mâché masks are stripped seductively (May, 2021); Texture left behind on canvas discarded by another artist is repurposed into dimensional blemishes and nipples (Getting Dizzy, 2022); Tokens of affection dimple a pillow, reimagining metallic awards or monuments (Tender Kids, 2022). My artwork harbors an awareness of the portrait and the nude as art-historical marks of identity and anonymity. A thematic emphasis on touch enables me to revisit this canon, propelled by ideas of queer togetherness and self-abandon.