Self-Portrait with Bill (2023) fuses text, object and image into a single, layered critique of power, language and visibility. Silkscreened onto a disintegrating animal hide, the phrase It’s Okay When Bill Does It reads like a half-hearted justification—suggesting selective morality and institutional blind spots. It honors the overlooked Jane and John Does while confronting the fictional and real-life “Bills” that shape our culture. 

The hide evokes both skin and artifact, pointing to the violence of language and the erasure of victims. Worn over my face and body in the photograph, the piece shifts registers—from accusatory to intimate—inviting viewers behind the veil.