Currently based in Los Angeles and an adjunct professor of architecture at Woodbury University, Erin Wright expands upon the legacy of still life painting with a distinct style that echoes the uncanny precision and waxy surfaces of computer-generated renderings. Citing “indifference” as her guiding principle, the artist wields exacting control over her brush, making sure not to leave behind any noticeable strokes that betray her hand or presence. Wright’s compositions eschew traditional perspective for isometric projection, a method used in architectural drawings to represent three-dimensional objects in two dimensions. The lack of a vanishing point allows the artist to place her subjects non-hierarchically within the picture plane; various motifs, like wine glasses, tennis balls, or bonsai trees, appear iteratively across multiple canvases and lead the viewer’s eye through a carefully choreographed narrative. Each painting is an enigmatic vignette—a single frame of a larger story that highlights the ways in which cultural norms and individual psychological states inform our daily existence, from the most minute details of interior design to universally entrenched social customs. Despite touching on such grand themes, the work remains fluid and familiar enough for the viewer to cultivate their own interpretations of the artist’s striking and layered imagery.