What Is Behind A Smile?
Ghislaine Maxwell and I, a self portrait, silkscreen on canvas  (36”x48”)

Power and influence-driven predation inserts itself into society through a variation of covert and parasitic methods,
dictating our perception, lying to us, and/ or harming us physically. A smile,universal yet personal, can be expressed
to intentionally manipulate for nefarious gain or conversely, be a genuine articulation of kindness and joy. As I probe this pathology and these individuals, I still hide and abstract most of the face, allowing the viewer to be drawn into the smiles' aesthetic appeal, and familiarity mimicking a methodology of a predator's. The only reveal is in the
title of each smile, (ie. Ghislaine and I, a self portrait). The pairing of myself with such figures represents the duality of light and dark and further deepens the all-too-relevant question of who is good and who is evil. It's also an
acknowledgement of the predator within each of us, and that everyone has the potential to be a part of an evil machine, knowingly or not.

a self portrait with bill, edition of 5, inkjet print (26”x40”)
ITS OKAY WHEN BILL DOES IT, animal hide, and acrylic (13”x28”)

Formally inspired by various Bill Clinton, Bill Gates, and Bill Cosby abuses of power brushed under the rug, this was printed and conceptualized to have multiple interpretations. It pays homage to Jane and John doe(s) of the world, confronts fictional and nonfictional "Bills," and speaks to the currency behind bodies.

things miami does not need more of #1 (24”x40”)+ detail #3, 2023, silkscreen on fine art paper

Things Miami Does Not Need More Of is a dark comedy of observations, reflections, and commentary on Miami. I began forming the list upon moving to Miami in 2021 and examined the landscape and its people with a humorous yet critical eye. Screen printed on fine art paper, this piece is purely unique, never being replicated or printed the same way twice.

when can you admit it? diptych, silkscreen on fine art paper 22”x30”

When exhibited, Kopenhaver walked around with a book at the reception, asking viewers to write to her when they have been lied to and/or when they have been a liar. The book accompanied the text works underneath on a podium for ongoing viewers to add to it and/or peruse. It is the space where truth and lies circulate, where someone’s villain can be another’s hero. Kopenhaver believes that the reading and exposing of personal thoughts can elicit much-needed (today) empathy and catharsis as well as general accountability and humility.

Trust your Source, Trust your Decisions, silkscreen on canvas, 34”x44”

Trust your Source, Trust your Decisions, erodes just like everyone else consciousness, attention span, memory, sources, journalism, and truth. I found the irony of an advertisement, telling me about trust and decisions, eroding, to be more of an honest metaphor than the initial message itself. The bombardment of information, advertising, the manipulation of language, are all forms of covert predation. Altering the mind thus the relationship with ones self - pushing one to avoid or remotely understand who we are.

The Convenience of Denial, triptych, silkscreen on fine art paper 22”x30”

The found language pattern in various sources of media of how notable individuals and institutions conveniently denied their involvement with Jeffrey Epstein and associates despite obvious and proven affiliation. Names are omitted. Stories intermix and run into each other and off the page, forgotten. Compositionally reflective of how the news navigates and reports stories around sex trafficking and the protection of power and also how I feel about the stories in themselves (and this case in particular): omnipresent, sinister, murky, repetitive, manipulated and covert.