Kirini’s practice explores materialism and plenty. Simultaneously compelling and repulsing, her works depict a heightened reality, dripping with excess and full of fantastically shiny things scaled to improbable sizes. She is particularly interested in the emptiness of these dazzling objects: how an object - a rhinestone, a plastic pearl - can mimic preciousness so keenly but be essentially worthless, tacky. Her work necessarily places femininity - girlhood and womanhood - at the center of this exploration of materialism, addressing questions about what we value, collect, and wear from a feminist perspective.

Using found digital images, often blurry screenshots, she layers image over image in Photoshop before painting the final work onto canvas or board. This process brings to her painted works a pronounced digital quality: pixels are sometimes visible, edges are jaggedly cut, and stock gradients are frequently incorporated. This embrace of the digital places her work firmly in the now and raises questions about what is real and what is manipulated or created. In painting these digital - and thus ephemeral - images, she seeks to re-evaluate that which is false, tacky, and feminine.

Kirini is based in New York City.