The subject of the painting is a reflection on one's own identity and biology. I present my femininity as a kind of weariness or anomaly, a variable entity difficult to accept but full of strength and beauty. The Thing is a creature that may look like a human or any other being, but is internally affected by weariness. It is an organic form subject to constant growth and transformation through the absorption of everything it encounters. In it's voracious biology, unrestrained instincts, with a malevolent and deceitful nature, its sole purpose is reproduction, multiplying using humans as tools, mere samples of genetic material. This creature is a dangerous imitation of humanity, better extinguished with fire before it escapes control, much like in a John Carpenter horror. As it strives for independence, possessing the ability to multiply and being autonomous, it becomes the ultimate threat, pushing humanity (represented by a male researcher in the film) to the brink of madness and destruction.

I depict The Thing at the climax of weariness, dripping with unbridled biological vitality, with tissues and beings attached in the act of destructive absorption. The biological entity is beautiful; I affirm it. The attraction and fascination with the beauty of the creature blend with repulsion and fear of one's own femininity as a deviation from the norm and what biology inevitably brings – decay and death.