paintings—in a way, it’s not too much to think of them as little precious mysteries, still smudged with pigmented afterbirth. Indeed, Baby Me (2021) and Y, a self-portrait (2019) both render the same photo of a minutes-old infant (presumably the artist) with different framings; here, painting allows a sort of out-of-body pilgrimage to the artist’s own beginning. It’s a wild, splayed composition, the infant’s purpled folds rubbed with medical gore, umbilical stub clamped closed. It is the endpoint of copulation, in a sense—certainly the end of gestation—and the beginning of consciousness and meaning making. The finished canvas is fresh, full, an articulated being unto itself, yet unresolved, taut with yearning, like two artificial flies kissing through a bullet hole.