In my project She-Wolves (2017), I digitally manipulate photographs of myself to create self portraits in which I’m in the throes of lycanthropic transformation. In these photo collage/digital painting hybrids the werewolf character engages in a wide range of activities, from wildly rolling around in a patch of flowers to gently bathing in a natural pool in the style of Renoir’s “Young Woman Bathing”. I pervert the expectations viewers have for images of nude female bodies by revealing excessive body hair, extra breasts and aggressive poses inspired by canine behavior. The horror trope of the werewolf in movies and literature has been overwhelmingly masculine, though more female werewolves have been emerging in pop culture in the last decade. Part of the reason for this, I believe, is that the violent, hairy werewolf doesn’t seem feminine enough and can’t preserve the controlled ideals of the female form as it appears in art and culture. My She-Wolves reflect the discomfort of being something that society doesn’t expect them to be: they are awkward and self conscious. I play with the eco-feminist concept of the fierce and earthy “wild woman” that can be found prowling the pages of Clarissa Pinkola Estés’ marvelous book Women Who Run With the Wolves, and allow my She-Wolves to have humorous vulnerability.