“My work exists at the intersection of admiration and resistance, engaging in an ongoing dialogue with the history of portraiture and the way women have been framed-both literally and conceptually-through the male gaze. This series of 25 to 30 paintings depicts five to six women I deeply admire, not as passive subjects but as autonomous figures who resist simplification. In a world where women's images are often dictated by external desires, I seek to shift the focus to their presence, power, and self-determined narratives.Historically, portraiture has been an act of possession, especially when a man paints a woman. I aim to subvert that expectation by approaching these works with a feminist consciousness-one that acknowledges the weight of representation and the politics of looking. As Women on Women explores, there is a radical difference between being seen and being truly known. This distinction is central to my practice. My paintings do not seek to define these women but to hold space for them, allowing for nuance, contradiction, and self-expression.By engaging with feminist discourse and challenging the conventions of traditional portraiture, this body of work questions who controls the narrative and how power operates within the act of depiction. It is both a critique and an offering-an attempt to see women outside of historical constraints and within the fullness of their complexity.I've chosen to depict womanly figures I admire-ranging from close friends to life partners and mentors. These peopple have shaped me as an artist, have grounded me, and expanded my understanding of the world and myself. They are not distant icons or idealized figures, but real, complex individuals. Their presence in this work is an extension of trust and love and painting them is both an act of gratitude and a reflection of how I see them -against a history that too often flattens or distorts women's images.”