My art strives to confront the gaze and the social standards imposed on us, transforming them into acceptance of all body kinds, which is held in great regard and respect. It is a direct response to our society's problems with acceptance, beauty, and the comparisons we make of ourselves to others, such as influencers, family and friends, and the general public. 

Since finding a fascination towards the reclining figure and somehow discovering an image of one. Primary research involves designing a body image survey that allows me to collect my own responses to the topic of interest. I've been investigating it throughout history to see how I might incorporate it into my practise. Stumbling across the Reclining Venus statues as seen through the eyes of Renaissance painter Titian. A hasty decision to take out the figure in the historic painting, causing the lady who was once present, to disappear from the painting, which was initially intended for male gazes. Essentially, I became intrigued in how taking out the female form within these historical paintings and relieving the woman from the continual gaze of male eyes gazing upon her, adoring her body for their personal gratification at the moment pacifically in that period. Historic paintings of the naked body being embraced have piqued my interest. As part of my ongoing exploration of ways to weaken the masculine gaze, removing the subjects from the context of space, liberating them in some way. Looking at Rosanna Jones' work, which in one case completely erased the person from the piece, one has to ask who the persons missing are. And why have they been removed from the workforce? And it got me thinking about what it means to remove a figure from an image. Starting to consider how I could add some form of gaze, I began looking at eyes and clipping them from magazines, as well as investigating Jim Lambie's usage of eyes in his work and how he builds images from a large number of shots of eyes. Still wanting to go with the notion of cutting out the figure from the artwork it would be in, I chose to place the eyes into the background, so that it was staring at the spectator alongside the missing figure. 

Examining Lucian Freud's work, particularly his famed reclining females such as his portraits of Sue Tilley. In his paintings, he depicts a realistic and an almost private and vulnerable moment of the featured model. I thought it could be interesting to switch the method while keeping the figure in the work but removing the background to see if it had an effect on the work, as well as wanted to experiment with a new medium: oil paints. Desiring to connect to the medium that would have been employed at that historical period. In addition, I'm exploring using tripdic with the work to add a sense of playfulness, similar to when I was a kid and had those dolls where you got to pick out the clothes, hair, and accessories, and seeing how I could incorporate that into my practise, but instead of accessories for the body, it's the body itself that you can change. This piqued my curiosity about the figure's deformation. But I believe my work still aims to examine how we as individuals contribute to society's shifting beauty standards – a harmful cycle in which people develop judgmental traits and the changing idea of what is considered appropriate in terms of aesthetics, which only keeps changing as a result of people's judgments – as well as how we as humans contribute to this through the people, we surround ourselves with, how we grow up, and social media and advertising. Sophie Tea's 'Nudies,' which were exhibited in Soho, London, were inspired to demonstrate admiration as well as a personal journey. My art can be a response to my own struggles with negative body image. Through my art and the female form paintings, I'm learning to love and accept myself more.