The figures are contrasting sexuality in the ruins of a POP culture bastion. Starting with the female figure as the ultimate symbol for object of the straight-male gaze, it emasculates that viewer in the presence of one or more men. Furthermore, the figure's state of mind are imposed upon by the conduits of the room because they come with a cost. The cost affords a pay to play acquisition of space that has heralds the collapse of POP culture and the way we interact with each other. In this wake lay bare the consequence of vanity.
Alternatively, oil paint is used as a means to facilitate this vanity. Because of this medium's origins depicting luminosity, a being's inner light, it eventually gave way to lux lighting, a vein exterior light directed upon a subject as a means of throwing light and casting shadow. It is on this turning edge of light and shadow where my work begins. Rather than directing a singular lux light source, two polarized light sources are projected as a means of pressing shadow over form. This works best when the figures's limbs are protruding into the viewer's space.