Objects tell many stories; arguably more than any owner can recount at a given time. Along what channels do our prized, necessary possessions travel, on their journey from conception to the buyer’s market, to the individual home? 

Visual metaphor explores this query in Losskarn’s work; hyper-realistic pastel artworks drawn from meticulously self-captured reference images depict strange, oftentimes absurd, and decidedly incorrect pop-culture product interactions as an intricately staged and up-close still life that gives special consideration to the recognizable impacts of the commonplace use of gender-ized advertisement imagery and rhetoric in contemporary product marketing. Assessing the heavy, historical reliance on gendered marketing schemes to sell products and experiences, Losskarn’s work exists as a feminist criticism on the ways in which Western capitalist practices have shaped and governed the formation, expression, and interpretation of individual identities. 

Taking these symbols further, visual metaphor is constructed through the repetition of nonsense imagery and themes which relate to sex, gender, and the histosocial intertwining of these topics in the context of capitalist consumer culture; a plastic knife is inserted through a stick of butter, meat is cut/removed and swapped with almost surgical precision, a safety-pin penetrates a gummy bear, a price-label-sticker covers yet another safety-pin. In this way, Losskarn’s repetition of gender-related imagery and themes works to create an intentional sense of confusion which mirrors her feelings on broader political discourses on gender and sex. In viewing her absurd still-life drawings, she would like viewers to ponder why it is that she has presented such an uncannily oriented collection of familiar, household-object-based imagery, allowing observers the opportunity to come to their own conclusions on the meaning of her artwork before understanding her work as a whole. When viewed as a collection, Losskarn’s  drawings more potently reveal her contemporary criticisms on the themes of gender and sex — the repetition of absurd pop-culture imagery across her work as a whole allows for a slow-burning realization that fosters an inclusive and interpretive approach to creating a public dialogue on gender which cannot be easily ignored. 

Currently, Losskarn’s art practice is focused on creating a collection of pastel diptychs which explore the idea of consumer grief as it relates to the gendering of necessary products in Western capitalism. Framed through the lens of an unexpected and non-consensual buy-one-get-one sale, Losskarn’s pairs of unsettling pastel drawings tackle the far-reaching social implications of the unsavory historical entanglement of the topics of sex and gender.