Through uncanny sculptures and theatrical, vignette-like installations, Brooklyn-based artist Anya Kielar investigates the female form. Kieler’s varied works are informed by extensive sources, including avant-garde set design, Surrealist collage, Post-Minimalist sculpture, domestic folk crafting techniques, and the decorative arts. In her subjects, she portrays the female shape in various interpretations, whether small collages of movie stars, like Audrey Hepburn and Veronica Lake, or flat cutout images that stand as free-form mannequins. These totemic forms are constructed in various ways—with painted and dyed fabric, woven burlap, or through her self-termed “sprayograms” that use a process of spraying pigment over objects to create a stencil-like outline. With strong ties to Surrealism, Kielar uses symbolic language—both figurative and abstract—to convey the human subconscious, likened to the pursuits of her predecessor Man Ray.