My painting practice is a ritual that reconstitutes my world. This ritual conjures female-centric visions and stories of trauma, resistance, and of women's complicated historical relationship to western land. My work serves to contribute to ongoing conversations about place-based political commitments, settler colonial epistemologies, and the ways in which the window to postmodern deconstructionist ethos is often closed in ethnocentric/white “feminist” thought. Throughout my practice I also recognize that, as a white woman working and living on Ute land, my identity itself is not only an abundant object of critique but a necessary part of my practice. I have developed a visual language that draws from the romanticization of the American West, while troubling its central ideologies of masculine power and white supremacy. I playfully explore the persistence of colonial pathologies in the attitudes, postures, and symbols of machismo in contemporary life.