In this body of work, Ostermann explores digitization and creation of pop cultural images of femininity. As someone who sometimes works within the music industry, she is interested in the intersection of reality, digital reality, and hyper produced imagery through mainstream pop outfits (i.e., major record companies, advertising agencies, specific designers, etc.) and how these images create a communal dissertation of pop femininity to be consumed at rapid fire online and replicated in the real world. Further, using decades-old images of pop stars, cheesecake pin-ups, dead princesses, or out-of-date imagery, the work invokes non-linear notions of time, nostalgia, and the future through compressed and collaged digitally-collected images.
"Untitled (Double Britneys)", 2016
48x60 in, two panel diptych
oil and latex on canvas
"Untitled (Gloriosa and Cone)", 2017
18x24 in
Oil on Panel
"Gimme More", 2017
65x65 in
Oil, latex, and gold on canvas
"Untitled (Lips, Gems, Roses, Red Polka Dots)", 2017
60x78in
Oil, latex, and gold on canvas
"Untitled (Rape of the Sabine Woman)", 2017
22x36 in
Watercolor, charcoal, and graphite on Arches
"Untitled (Princess Di)", 2015
18x24 in
Oil and glitter on canvas
"Untitled (Marshmallow Fluff/Cheeesecake)", 2017
18x24 in
Oil and latex on panel
"Untitled (Britney & Butterflies)", 2017
18x24 in
Oil on panel
"Untitled (Silver Spoon & Kimye Engagement Ring", 2017
18x24 in
Oil on Panel
Installation view at Terrault Contemporary, Baltimore, MD
Installation view at Terrault Contemporary, Baltimore, MD
Installation view at Terrault Contemporary, Baltimore, MD
Originally shown in 2013 in a self-curated show of the same name at Maryland Institute College of Art, Ostermann created painting in this series until 2016.
Working with banal feminine symbols, words, and objects juxtaposed with moments of abstraction, recognizable images and objects, Ostermann creates grids, windows, and overlapping image structures that create a screen through which the picture is perceived. These filters are intentionally defunct, employing layers of transparency and overlap to suggest destabilized meaning and subjective response.
The intersection of symbols and recognizable objects and moments of abstraction propose notions of fantasy, decoration, femininity, and the digital realm, as well as root the symbols in a nonexistent material and bodily plane.
"Untitled (Blue Gatorade & Wedding Season)", 2015
Oil and latex on canvas
60x68in
"Death of Cliche", 2015
Oil, latex, and beeswax on canvas
64x64in
"My Man Makes Me Feel Like A Queen", 2014
50x60in
Oil, latex, and gold on canvas
"Untitled (Ice Cream, Peony, Bleeding Hearts, Crystal)", 2015
Oil and latex on canvas
60x70 in
"Untitled", 2016
Oil on Canvas
40x52in
"Untitled", 2016
Oil on Canvas
40x52in
Installation view at La Bodega Gallery, Baltimore, MD
Installation view at La Bodega Gallery, Baltimore, MD
Installation view at La Bodega Gallery, Baltimore, MD
"Untitled (Cake for Diana)", 2016
Oil on Canvas
28x40in
"Untitled", 016
Oil on panel
11x14in
"Love on the Beach", 2014
Oil and latex on panel
11x14in
"Untitled (Tiny Chandelier)", 2016
Oil on panel
5x7in
"Naughty Cherub and Flowers", 2014
Latex, paintbrush, paper, and oil on canvas
22x36 in
"New Louboutin Pumps", 2015
50x60in
Oil, latex, and spraypaint on canvas
"Ripe: Summer Loving", 2014
Oil on canvas
48x56in
"Figure Window", 2014
Oil, latex, and spraypaint on canvas
45x50 in
"John the Baptist, Hydrangea Head, and Text", 2013
Watercolor and pencil on paper on panel
12x12in
"Untitled", 2014
Latex, Acrylic, and Oil on Canvas
58x68in
"Rubies in the Sky (After Man Ray's "The Lovers")", 2014
Oil and gold on canvas
36x22in
"BE MINE", 2013
Latex and oil on canvas
62x62 in
"Heart Attack", 2012
Latex and oil on canvas
48x56 in
"Love Grid", 2012
Oil on Canvas
62x62 in
"The Pink Stripe", 2012
Mixed media on canvas
38x48in
"Pearl Necklace", 2012
Mixed media on canvas
40x50in
Installation view at Maryland Institute College of Art, Baltimore, MD
Installation view at Maryland Institute College of Art, Baltimore, MD
Ostermann creates these paintings through her understanding of florals in response to her work as a freelance floral designer by day. She prefers a tight "modernist" arrangement, with no field surrounding, so that the blooms become their own field on the canvas.
She creates images of her own, and is also available for commission work in this area.
Large-scale floral painting for Micah E. Wood’s Music Video “Club Song”.
Large-scale floral painting for Micah E. Wood’s Music Video “Club Song”.
(Artist for scale) Large-scale floral painting for Micah E. Wood’s Music Video “Club Song”.
Featured on Natural Velvet’s single cover, “Love is Love”
Commission painting of Carey Williams bridal bouquet
Permanent mural installation at The Loft—Lash|Brow|Skin, Baltimore, MD. Photographs courtesy of Naomi at Urban Row Photography.
Permanent mural installation at The Loft—Lash|Brow|Skin, Baltimore, MD. Photographs courtesy of Naomi at Urban Row Photography.
Permanent mural installation at The Loft—Lash|Brow|Skin, Baltimore, MD. Photographs courtesy of Naomi at Urban Row Photography.
Detail, permanent mural installation at The Loft—Lash|Brow|Skin, Baltimore, MD. Photographs courtesy of Naomi at Urban Row Photography.
Detail, permanent mural installation at The Loft—Lash|Brow|Skin, Baltimore, MD. Photographs courtesy of Naomi at Urban Row Photography.
Detail, permanent mural installation at The Loft—Lash|Brow|Skin, Baltimore, MD. Photographs courtesy of Naomi at Urban Row Photography.
Permanent mural installation at Poppy & Stella on Thames (Baltimore)
Detail, Permanent mural installation at Poppy & Stella on Thames (Baltimore)
Detail, Permanent mural installation at Poppy & Stella on Thames (Baltimore)
Permanent mural installation at Poppy & Stella on Thames (Baltimore)
Permanent mural installation at Poppy & Stella on Thames (Baltimore)
Installation view of works for scale, Trohv, Baltimore, MD
Installation view of retail design at Crimson and Clover Floral Design, Baltimore, MD
Installation view of retail design at Crimson and Clover Floral Design, Baltimore, MD
Semi-permanent floral drawing, Crimson and Clover Floral Design, Baltimore, MD
A more casual body of work, Ostermann creates these paintings in a separate aesthetic from her other work, due to her interest in writing as a form of painting, and the juxtaposition of language, shape, form, and content.
