In my art practice, I use paper and negative space to create opportunities for dialogue about women and work. Paper-cut portraits are integrated with – and their bodies are colonized by – domestic motifs and patterns. In more recent work, paper-cut maps suggest weight and permanence in the (largely masculine) tradition of exploring and conquering territory, but the organic, womb-like basins formed in the work – as well as the intuitive process in which they are made – subvert standard mapping conventions with delicacy and an intentional lightness. A gold-and-white palette is reminiscent of my grandmother’s china as well as the crisp, white slacks and bright jewelry she always wore while serving dinner. My work intentionally takes up space and gets in the way.