Finish What You Started

Flashe, acrylic, enamel, and colored pencil on canvas.

46x70x1.50"

"She takes on too much,
she has too many ideas,
too much inspiration,
too much ambition.

She wants to do it all, have it all, be it all.

They celebrate her for all her endeavors,
the accolades,
the projects,
the never-ending scope of work.

They chastise her for not taking better care of herself.
They tell her the importance of self-care,
eating healthy,
resting,
working out,
drinking water,
getting more sleep.

They get offended when she turns down the cocktails,
the dinners,
the dates,
the hand-shaking,
the hello-hi-how-are-you’s,
the small talk,
the charity dinners.

They champion the importance of boundaries, but only for everyone else."


*this piece was published in the April 2024 print issue of British Vogue.
*shown alongside Behind the Scenes, this listing is for Finish What You Started only.

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The She’s A Sweet Peach collection is a satirical body of work that explores the way North American society perceives and speaks about women and the female body. In reference to the overused peach emoji in popular culture, women’s body parts are often compared to the likeness of fruit: either ripe, juicy and begging to be enjoyed; or rotten, past its prime, ready to be discarded, no longer valuable if slightly bruised, imperfect, or showing signs of age. A fruit serves one purpose - it is meant to be consumed, it is not permitted to just “be”.

LaCaria presents the concept of the contemporary woman as a ripening peach on the brink of expiry through an exploration of themes rooted in alternative lifestyles, the patriarchy and sexuality that have been explored in the past by classical male artists through their objectification of the female body. By removing the figurative representation of the female body from the conversation, LaCaria is relying on the suggestive nature of peaches to represent female body parts - arguably a more uncomfortable experience for the viewer than the commonly digested and accepted visual of an objectified female body.

Instructions & criticisms to the artist are handwritten in each frame to inspire doubt in the viewer as to whether the works are complete or in progress; a commentary on how women’s quest for equality, self-betterment & professional aspirations seems to be a constant “work in progress”, ever-changing, shifting, but also perfectly imperfect.