This body of work adopted the form of the make-up vanity as a sign for the transformation of identity. These furnishings are conventionally found in foyers, bedrooms, and back-stage dressing rooms, representing a station between the private world of the user and their public persona. They demarcate the border of social reception, as sites where public faces are applied and removed, accompanied by sound mixes of desired voices and dialogues with the self.

With its brightly illuminated performative arena, the make-up vanity simulates the theater itself in a condensed scale. The time and space between action and reaction, performer and audience is short circuited, compressed into a single reflected image on mirrored glass.

Through structural modifications of the components that comprise the mak-up vanity (mirrors, lights, and counters), these works exceed their functional program, connotating layers of multiple identity.