top of page
RE-POP
This series of brightly colored, collage-inspired oil and acrylic paintings are a reflection of Jaffe's fascination with art history and popular culture. By incorporating elements of both, she creates a visual dialogue between past and present, exploring the ways in which art historical movements and contemporary influences intersect, overlap, or otherwise inform each other. Through collage, Jaffe juxtaposes disparate elements from art history and contemporary life, creating new and unexpected narratives. This process allows her to explore themes of identity, consumerism, and the fleeting nature of popular trends and technological ephemera. Each painting is a reflection of both the artist's personal experiences and a celebration of the diverse array of visual stimuli that surrounds us. Through her work, Jaffe invites viewers to reconsider the ways in which art, history, and popular culture intersect and interact, and to create new and meaningful connections between the past and the present.
Double click images for full artwork details
Fanatic, 2023
*Click images to zoom on desktop or pinch out on smart device
Acrylic on canvas
48" high x 36" wide
“Fanatic” is a collage driven painting that incorporates elements of modern painting (Van Gogh and Matisse) and popular culture. The title makes reference to the early phase of Van Gogh’s life in which he was a religious fanatic and the general idea of being a fan of other people or even oneself. The Yankees cap is a further nod to the idea of fandom as is the Starry Night mug that Van Gogh is seen holding via a supernatural third cartoon arm - with both items further referring to consumer culture and the commercialization of fandom in contemporary pop culture. Although Van Gogh is depicted as a caricature of himself here (with the Yankees hat almost normalizing his personhood from artistic genius to everyday Joe), the painting is ultimately intended to celebrate Van Gogh and not to demean him. If anything is poked fun of here, it is the commodification of art history.
Acrylic on canvas
48" high x 36" wide
“Fanatic” is a collage driven painting that incorporates elements of modern painting (Van Gogh and Matisse) and popular culture. The title makes reference to the early phase of Van Gogh’s life in which he was a religious fanatic and the general idea of being a fan of other people or even oneself. The Yankees cap is a further nod to the idea of fandom as is the Starry Night mug that Van Gogh is seen holding via a supernatural third cartoon arm - with both items further referring to consumer culture and the commercialization of fandom in contemporary pop culture. Although Van Gogh is depicted as a caricature of himself here (with the Yankees hat almost normalizing his personhood from artistic genius to everyday Joe), the painting is ultimately intended to celebrate Van Gogh and not to demean him. If anything is poked fun of here, it is the commodification of art history.
Springtime, 2023
*Click images to zoom on desktop or pinch out on smart device
Acrylic on canvas
48" high x 36" wide
“Springtime” combines elements from the artwork of Henri Matisse, Paul Cezanne, Salvador Dali and Jean-Michel Basquiat with imagery that is rendered in a number of different aesthetic styles – including cartoon imagery, children’s drawing, painterly imagery, and pixelated imagery. By collaging together these different visual styles, a new visual language and story are created, the form of which is reminiscent of the way that popular music often remixes older songs into itself. Beyond its technical aspects, this captivating painting portrays a harmonious blend of life and time, with delicate flowers blooming around a Dali clock while a bird flutters amidst the serenity. The contrast of ephemeral beauty and timeless grace furthermore creates an enchanting visual dynamic to celebrate the spring season.
Acrylic on canvas
48" high x 36" wide
“Springtime” combines elements from the artwork of Henri Matisse, Paul Cezanne, Salvador Dali and Jean-Michel Basquiat with imagery that is rendered in a number of different aesthetic styles – including cartoon imagery, children’s drawing, painterly imagery, and pixelated imagery. By collaging together these different visual styles, a new visual language and story are created, the form of which is reminiscent of the way that popular music often remixes older songs into itself. Beyond its technical aspects, this captivating painting portrays a harmonious blend of life and time, with delicate flowers blooming around a Dali clock while a bird flutters amidst the serenity. The contrast of ephemeral beauty and timeless grace furthermore creates an enchanting visual dynamic to celebrate the spring season.
New Wave, 2023
*Click images to zoom on desktop or pinch out on smart device
Acrylic on canvas
48" high x 36" wide
“New Wave” contemplates our relationship to nature through the lens of art history and popular culture.
Acrylic on canvas
48" high x 36" wide
“New Wave” contemplates our relationship to nature through the lens of art history and popular culture.
New Wave, 2023
*Click images to zoom on desktop or pinch out on smart device
Acrylic on canvas
48" high x 36" wide
“New Wave” contemplates our relationship to nature through the lens of art history and popular culture.
Acrylic on canvas
48" high x 36" wide
“New Wave” contemplates our relationship to nature through the lens of art history and popular culture.
Cycles and Stages or The Human Condition, 2023
*Click images to zoom on desktop or pinch out on smart device
Acrylic on canvas
24" high x 30" wide
This painting combines elements from the artwork of Tom Wesselmann, Keith Haring and Paul Cezanne with imagery that is rendered in different aesthetic styles – such as cartoon imagery, an apple logo, emojis, images with Photoshop drop shadows, and Photoshop “paint.” By collaging together these different visual styles, a new visual language is created, one that is reminiscent of the way that popular music often remixes older songs into itself. Beyond its technical aspects, this painting contemplates the various stages of human life, from birth (i.e. the Haring baby and nursing Tom Wesselmann breast) to death (i.e. the Cezanne skulls in the background) and the cyclical nature of life.
Acrylic on canvas
24" high x 30" wide
This painting combines elements from the artwork of Tom Wesselmann, Keith Haring and Paul Cezanne with imagery that is rendered in different aesthetic styles – such as cartoon imagery, an apple logo, emojis, images with Photoshop drop shadows, and Photoshop “paint.” By collaging together these different visual styles, a new visual language is created, one that is reminiscent of the way that popular music often remixes older songs into itself. Beyond its technical aspects, this painting contemplates the various stages of human life, from birth (i.e. the Haring baby and nursing Tom Wesselmann breast) to death (i.e. the Cezanne skulls in the background) and the cyclical nature of life.
Bathers, 2023
*Click images to zoom on desktop or pinch out on smart device
Acrylic on canvas
40" high x 30" wide
Acrylic on canvas
40" high x 30" wide
Paper Garden, 2023
*Click images to zoom on desktop or pinch out on smart device
Acrylic on canvas
40" high x 30" wide
"Paper Garden" is concerned with the various artistic techniques for rendering flat and molded forms. In this painting, origami flowers are mixed with cartoon flowers, flowers from decorative jewelry brooches, and painterly flowers to depict a surreal floral garden with varying degrees of two and three dimensionality. The origamis, created from two-dimensional paper, are folded into three-dimensions and painted with light and shadow to reveal hyperreal flowers with depth to them. Meanwhile the flat cartoon flowers are rendered with blocks of non-shaded color and the brooches are painted with shadow to give them a sculpted presence. Lastly, the painterly flowers fill in the rest of the bouquet with some amount of dimensionality.
Acrylic on canvas
40" high x 30" wide
"Paper Garden" is concerned with the various artistic techniques for rendering flat and molded forms. In this painting, origami flowers are mixed with cartoon flowers, flowers from decorative jewelry brooches, and painterly flowers to depict a surreal floral garden with varying degrees of two and three dimensionality. The origamis, created from two-dimensional paper, are folded into three-dimensions and painted with light and shadow to reveal hyperreal flowers with depth to them. Meanwhile the flat cartoon flowers are rendered with blocks of non-shaded color and the brooches are painted with shadow to give them a sculpted presence. Lastly, the painterly flowers fill in the rest of the bouquet with some amount of dimensionality.
Dutch Flower Painting, 2022 (from Dutch Inspired series)
*Click images to zoom on desktop or pinch out on smart device
Acrylic on Canvas
36" x 36"
“Dutch Inspired” is a series of flower paintings that were dually inspired by the flower paintings of the Dutch Golden Age and contemporary life. Similar to the way that flower painting served to remind the Dutch of the brevity of life during a time of plague, these flower paintings were conceived of during the COVID pandemic, wherein life is fragile and not guaranteed. 21st century capitalism is furthermore not altogether different from the class mobility and wealth accrual of the 17th century Dutch Golden Age and these paintings are a nod to that similarity. Like Dutch merchants, contemporary art collectors also showcase their wealth through the accrual of contemporary art, which they acquire from a similar type of fine art marketplace. Although flower paintings were moralizing depictions of wealth’s transient nature, they were nonetheless expressions of wealth, luxury, and beauty in the same way that contemporary art continues to serve as a symbol of status, luxury, and aesthetic taste. Whereas the 17th century saw the emergence of a cut flower market, the 21st century has likewise seen the cut flower market thrive and flowers themselves are still celebrated as symbols of love, beauty, and wealth.
Like the paintings in “Dutch Inspired” and the contemporary cut flowers that it uses as reference, the Dutch would also portray flowers in then impossible arrangements with blooms from all four seasons being depicted at once. In other words, although contemporary practices in the floral industry have made it possible for different types of flowers to be available to consumers at all times of the year, the Dutch only had access to flowers during their natural blooming cycle – although they supernaturally depicted flowers of all seasons together in their paintings. This is furthermore similar to the nature of Photoshop, wherein graphic designers and artists are able to create supernatural images of unnaturally occurring phenomena from ordinary photographs. Coincidentally, the paintings in “Dutch Inspired” were also modeled after Photoshopped images of found flowers artificially arranged together, thereby taking yet another cue from the Dutch.
Acrylic on Canvas
36" x 36"
“Dutch Inspired” is a series of flower paintings that were dually inspired by the flower paintings of the Dutch Golden Age and contemporary life. Similar to the way that flower painting served to remind the Dutch of the brevity of life during a time of plague, these flower paintings were conceived of during the COVID pandemic, wherein life is fragile and not guaranteed. 21st century capitalism is furthermore not altogether different from the class mobility and wealth accrual of the 17th century Dutch Golden Age and these paintings are a nod to that similarity. Like Dutch merchants, contemporary art collectors also showcase their wealth through the accrual of contemporary art, which they acquire from a similar type of fine art marketplace. Although flower paintings were moralizing depictions of wealth’s transient nature, they were nonetheless expressions of wealth, luxury, and beauty in the same way that contemporary art continues to serve as a symbol of status, luxury, and aesthetic taste. Whereas the 17th century saw the emergence of a cut flower market, the 21st century has likewise seen the cut flower market thrive and flowers themselves are still celebrated as symbols of love, beauty, and wealth.
Like the paintings in “Dutch Inspired” and the contemporary cut flowers that it uses as reference, the Dutch would also portray flowers in then impossible arrangements with blooms from all four seasons being depicted at once. In other words, although contemporary practices in the floral industry have made it possible for different types of flowers to be available to consumers at all times of the year, the Dutch only had access to flowers during their natural blooming cycle – although they supernaturally depicted flowers of all seasons together in their paintings. This is furthermore similar to the nature of Photoshop, wherein graphic designers and artists are able to create supernatural images of unnaturally occurring phenomena from ordinary photographs. Coincidentally, the paintings in “Dutch Inspired” were also modeled after Photoshopped images of found flowers artificially arranged together, thereby taking yet another cue from the Dutch.
Dutch Flower Painting 2, 2023 (from Dutch Inspired series)
*Click images to zoom on desktop or pinch out on smart device
Acrylic on canvas
40" x 30"
“Dutch Inspired” is a series of flower paintings that were dually inspired by the flower paintings of the Dutch Golden Age and contemporary life. Similar to the way that flower painting served to remind the Dutch of the brevity of life during a time of plague, these flower paintings were conceived of during the COVID pandemic, wherein life is fragile and not guaranteed. 21st century capitalism is furthermore not altogether different from the class mobility and wealth accrual of the 17th century Dutch Golden Age and these paintings are a nod to that similarity. Like Dutch merchants, contemporary art collectors also showcase their wealth through the accrual of contemporary art, which they acquire from a similar type of fine art marketplace. Although flower paintings were moralizing depictions of wealth’s transient nature, they were nonetheless expressions of wealth, luxury, and beauty in the same way that contemporary art continues to serve as a symbol of status, luxury, and aesthetic taste. Whereas the 17th century saw the emergence of a cut flower market, the 21st century has likewise seen the cut flower market thrive and flowers themselves are still celebrated as symbols of love, beauty, and wealth.
Like the paintings in “Dutch Inspired” and the contemporary cut flowers that it uses as reference, the Dutch would also portray flowers in then impossible arrangements with blooms from all four seasons being depicted at once. In other words, although contemporary practices in the floral industry have made it possible for different types of flowers to be available to consumers at all times of the year, the Dutch only had access to flowers during their natural blooming cycle – although they supernaturally depicted flowers of all seasons together in their paintings. This is furthermore similar to the nature of Photoshop, wherein graphic designers and artists are able to create supernatural images of unnaturally occurring phenomena from ordinary photographs. Coincidentally, the paintings in “Dutch Inspired” were also modeled after Photoshopped images of found flowers artificially arranged together, thereby taking yet another cue from the Dutch.
Acrylic on canvas
40" x 30"
“Dutch Inspired” is a series of flower paintings that were dually inspired by the flower paintings of the Dutch Golden Age and contemporary life. Similar to the way that flower painting served to remind the Dutch of the brevity of life during a time of plague, these flower paintings were conceived of during the COVID pandemic, wherein life is fragile and not guaranteed. 21st century capitalism is furthermore not altogether different from the class mobility and wealth accrual of the 17th century Dutch Golden Age and these paintings are a nod to that similarity. Like Dutch merchants, contemporary art collectors also showcase their wealth through the accrual of contemporary art, which they acquire from a similar type of fine art marketplace. Although flower paintings were moralizing depictions of wealth’s transient nature, they were nonetheless expressions of wealth, luxury, and beauty in the same way that contemporary art continues to serve as a symbol of status, luxury, and aesthetic taste. Whereas the 17th century saw the emergence of a cut flower market, the 21st century has likewise seen the cut flower market thrive and flowers themselves are still celebrated as symbols of love, beauty, and wealth.
Like the paintings in “Dutch Inspired” and the contemporary cut flowers that it uses as reference, the Dutch would also portray flowers in then impossible arrangements with blooms from all four seasons being depicted at once. In other words, although contemporary practices in the floral industry have made it possible for different types of flowers to be available to consumers at all times of the year, the Dutch only had access to flowers during their natural blooming cycle – although they supernaturally depicted flowers of all seasons together in their paintings. This is furthermore similar to the nature of Photoshop, wherein graphic designers and artists are able to create supernatural images of unnaturally occurring phenomena from ordinary photographs. Coincidentally, the paintings in “Dutch Inspired” were also modeled after Photoshopped images of found flowers artificially arranged together, thereby taking yet another cue from the Dutch.
Rainbow Geode, 2021
*Click images to zoom on desktop or pinch out on smart device
Acrylic on canvas
48" high x 36" wide
This painting is from a series of paintings that celebrates the beauty of naturally forming crystals. It is additionally concerned with the reality that certain paint pigments have historically been made of minerals themselves and the healing energy that is often associated with crystals.
Acrylic on canvas
48" high x 36" wide
This painting is from a series of paintings that celebrates the beauty of naturally forming crystals. It is additionally concerned with the reality that certain paint pigments have historically been made of minerals themselves and the healing energy that is often associated with crystals.
Blue Crystal, 2021
*Click images to zoom on desktop or pinch out on smart device
Acrylic on canvas
48" high x 36" wide
This painting is from a series of paintings that celebrates the beauty of naturally forming crystals. It is additionally concerned with the reality that certain paint pigments have historically been made of minerals themselves and the healing energy that is often associated with crystals.
Acrylic on canvas
48" high x 36" wide
This painting is from a series of paintings that celebrates the beauty of naturally forming crystals. It is additionally concerned with the reality that certain paint pigments have historically been made of minerals themselves and the healing energy that is often associated with crystals.
Homage to Albers, 2021
*Click images to zoom on desktop or pinch out on smart device
Acrylic on canvas
12" high x 12" wide
In a private collection
This painting pays tribute to the late abstract painter and theorist Josef Albers, who was best known for his iconic color square paintings, also known as the Homage to the Square series (the title Homage to Albers makes double reference to this). In these paintings, Albers would paint quasi-concentric squares in varying shades of color, with each painting featuring either three or four squares. In Homage to Albers there are three square-like shapes of color with a ruby forming the center “square,” which is a reference to the lofty financial value that has been placed upon Albers’ work by the contemporary art market.
Acrylic on canvas
12" high x 12" wide
In a private collection
This painting pays tribute to the late abstract painter and theorist Josef Albers, who was best known for his iconic color square paintings, also known as the Homage to the Square series (the title Homage to Albers makes double reference to this). In these paintings, Albers would paint quasi-concentric squares in varying shades of color, with each painting featuring either three or four squares. In Homage to Albers there are three square-like shapes of color with a ruby forming the center “square,” which is a reference to the lofty financial value that has been placed upon Albers’ work by the contemporary art market.
bottom of page