The basis for this project is the trauma associated with female socialization in family, church, and other restrictive structures and physical locations. Stories, memories, and the feelings around those incidents provoke defiance toward compulsive femininity and homophobic ideologies. In this project, the final form is lithographic prints on translucent paper—a type of container, one that holds its contents in suspension. The suspended motion and perception of the snapshot taken on the photo litho plate is of an expandable and temporal construction. It is a conglomeration of physical objects which I employed to elicit an emotional and provocative manifestation, which also led to abstraction with the use of voids and gestures indicative of a disrupted emotional security. This response of shapes and textures associated with the body is, in a way, more literal—that is—the guts, tissue, veins, ribs, and skin are at center, though this project isn’t literal in the sense of concrete depictions, events, or completely discernible artifacts. These emotional interiors house containers for the container—the body. They hold the scars like curses bound up, a contained trauma. The containers don’t represent a linear progression but an impressionable, permeable, and wavering poem. The visceral propeller that is made up of gooey fluids, gestural vulnerabilities and grotesque defamiliarization is yet restrained by distance and hiding. The information is lost and found as one print is layered on top of another and sometimes another.