Schutz treads a fine line between empathy and repugnance. Envisioning a race of self-eaters, she pictures both the nurturing and self-destructive qualities of an aberrant addiction. In Feelings , her character is frantically rendered with wide brush marks and soft tones, giving a human sensitivity to its apparent grief. Hands to mouth, Schutz's painting dissolves into dysfunctional breakdown, no longer rendered, but squeezed urgently from the tube. Contorted in crippling desperation, it's unclear if this act of instinctive self-comfort is sympathetically benign, or something much more carnivorous and psychotic.