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Because she soaks and splatters her paintings with so much water and color that she often stacks extra sheets of paper underneath them to use as subsequent canvases — or even at times flips a nearly-finished painting over and proceeds to finish its backside instead — her workspace is covered in the remains of past works. Sometimes the residue even creeps back up into new pieces she’s immersed in, which she calls a “happy accident.” She’s quite comfortable with the elements of her process she can’t control. “I love to blow on my paintings or lift them up until the paint drips. If you make everything drip towards the top of the paper, it gives the image an uplifing feeling; downwards makes it look sad, and to the side makes it looks like the wind is blowing.”