This painting features the artist’s signature female-presenting figures—frequently depicted wearing floral dresses and platform boots while inhabiting dreamlike landscapes filled with horses, flowers and greenery. The artist explores concepts of self, authenticity and performance in paintings that often depict aloof characters with expressionless faces. The artist uses oil paint along with the quick-drying medium of distemper to create surfaces that evoke the faded qualities of worn denim—along with the patterns of vintage fabrics and other decorative textiles.

Borah draws influence from the artist, poet and muse Marie Laurencin (1883-1956). Laurencin was among the only female artists associated with the Section D’Or and Cubist group, and she was the independent-minded muse of Guillaume Apollinaire for a time. Laurencin’s paintings—with their centering of female figures engaged in activities of leisure, beautification and nature forays—were often dismissed in their time for representing “everything that is wrong with women’s art.” Laurencin's work featured a pastel palette, an unapologetically decorative aesthetic and celebrated simple, pretty things like flower bouquets, flowing scarves, woodland idylls and the freedom of riding on horseback.

However, from a contemporary standpoint—including today’s fresh perspectives on gender fluidity and the wide spectrum of gender expressions—Laurencin’s painted worlds portray a feminine interiority that can be claimed and inhabited by those who find and see themselves in it.  This is where Meghan Borah’s femme-centric paintings connect back to and expand upon Laurencin’s female-oriented cosmos. While Borah’s “girls” tend to be feminine-presenting, their angular limbs and features, heavy platform boots and refusal to smile on command—especially while being looked at—resonate with feminism’s insistence that women's bodies belong to themselves and no one else. Borah's work insists that women should revel and take pleasure in themselves, adorn themselves as they wish, and share themselves with others if and as they choose.

This painting features decorative patterning, a frequent feature of the artist's work. Borah has a longstanding interest in textile design and fashion, and once considered pursuing fashion, explaining: "My compositional interest in pattern and repetition stems from my love of textiles, and also from my love of painters that have utilized pattern—Matisse, Bonnard and Vuillard, to name a few. I was constructing garments and screen printing patterned fabrics alongside making paintings and was inspired by artists such as Diana Guerrero-Maciá, Christine Tarkowski and Fraser Taylor, all of whom were blurring the lines between painting and design. They challenged me to not prioritize one over the other."