Painting mimics baking in its materiality, mess, and in the creation of something whole, yet a beautiful cake is one that does not allude to its making. Each of my compositions follows from a close examination of imagery in cookbooks. The beauty and delicacy of the cookbook photographs is replaced by a loose gesture, aggressive painting style, and evidence of the painting process. I use washy layers of fluid acrylic paint to suggest fragile glass cake stands and concentrated layers to build up the weight of the cake. The brushmarks suggest playfulness but also potency. The drips are relics of the process. The black and white palette disrupts notions of what cakes should be. By reframing cakes as objects that are graceful yet defiant, works in the Black Cakes Series invites viewers to complicate binary notions of femininity, contemplate more complex meanings, and consider their political, economic, and social implications.