This ongoing series of figurative paintings explore the “states of mind” the artist navigates and negotiates while living black, female, queer, working class and depressed in America.  Sometimes comedic and at other times sobering,  Eaton toys with metaphor and symbolism by marrying everyday common objects, subjects and scenarios with large detached heads. The recurring bodiless heads are used not only to represent feelings of detachment and isolation associated with depression, but they also symbolize how historically and systematically, those on the margins of society have often been treated as less than whole human beings.  At the same time, Eaton leans into her African ancestry by  referencing the significance of the human head or Ori, thought to be the center of character and emotion, within West African Yoruba art, religion and culture.  With large eyes that gaze at the viewer with resolve, the heads possess a "coolness" that is another nod to the Yoruba ideal of being.