In my sculptural paintings, I paint onto resin casts of various surfaces, including people. This work layers different ways that visual information presents itself – from sculptural relief to painted illusion – to create a calibrated dissonance. I began inserting low relief casts into my paintings as I was contending with photography’s domineering authority over visual culture. But rather than use photography directly, I opted to use mold-making and casting as its extremely tactile, full contact surrogate.