The title Where the Girls Are borrows from the language of mid-century marketing while redirecting its promise. These works locate “the girls” not in sites of consumption, but in moments of refusal, estrangement, and imaginative departure. The collages resist resolution; they hold space for dissonance, humor, and unease.

Ultimately, this series engages collage as both method and metaphor: a way of cutting into inherited images and reassembling them to expose what has been obscured. In doing so, I seek not only to critique the visual economies of the past, but to ask how their residues continue to shape the present—and how, through acts of reconfiguration, those narratives might be loosened, if not undone.