Reflections are always multiple, partial, recurring. What version of the self exists in the mind, in our memories, in the various shiny surfaces and screens that we see and post our visage? This painting includes two areas of double-sided sequins which are printed on one side, and metallic on the other. One area covers an area corresponding to one frame of eyeglasses; the other covers one in a set of four reflected faces. In the glasses, the print, of a knife, is from the battle scene of Piero della Francesca’s mural the Legend of the True Cross in Arezzo. In the other segment is written the word “Hi.”

The painting is mostly green, unreal, imaginative, tied together with a loop like a bow or a roller coaster. There are a lot of gazes in this painting, a lot of reflected images. All the versions of self portraits that I use in the show are present in this painting, which incidentally, is not being shown in NY but rather in Miami: butt girl’s plaid flannel anchors the painting in the center; the face wearing the mask gazes up and outward as if for help or in a daydream, scrabble girl holds us in place. The color is bright and artificial, like a projection. I think of this painting as a good ambassador for this body of work: she carries reflections, excitement, doubt, shininess, memories, pain, longing, abstraction, and a whole lot of looks. The title is a joke about painting and self portraiture, the questions about looking inward as we look outward. In a way, this painting is interested in the interiority of the idea of the self, and the kinds of space that is made by this self-reflection.