If 2018 felt like a turning point for my art, 2019 was very much a departure from my typical style. I didn’t have much time for creating complex composite images because of Superfine, so I tried out a new process: designing vector backgrounds to project directly onto models, and creating an otherworldly image with just one photo (versus the typical collection of dozens of combined photos that make up most of my other artworks). These felt a bit more like an exploration for me, but these photos proved vital for my art practice: they were a much-needed interruption from my creative rut, which helped me to relieve some of the pressure I had been building up around my work.