I turned my paintings into photographic images and further translated the original object - what was heavy and chaotic - into a flat and textureless landscape; all shapes, lines, and weight bearing equal. I see it akin to an alchemy of vapors. I began this project in trying to discover what could stand the test of time: the original physical painting, a mishmash of ink and oil and canvas and wood, or the reproduced flattened image, in shades of grey ink, as thin and light as air? Does the aura of the original painting change with each silk reproduction? Which will outlast the other? I am also interested in animation of art objects: a work of art sits immobile, activated only when the viewer makes the effort in trying to assess its systems. By distilling my work onto silk and allowing the wearer and her movements to physically animate it, I feel is a further manifestation of original gestures of painting. It becomes a performance and collaboration.