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Vrana uses found objects, collage, and assemblage to craft a world-within-a-world that communicates a playfully unnerving take on the contradictions, absurdity, and strangeness of postmodern American life. Having grown up and lived within the Rust Belt, she brings a sharp-eyed, Baroque Utilitarian aesthetic to bear in the crafting of unique creations that revel in layer, texture, and color. She emphasizes the “Use of the Useless,” the flotsam and jetsam of society, offering a masterfully chimerical reinterpretation of existing bodies into newer, more vibrant forms that are anchored in evocative titles that tether them to the here and now while hinting at larger worlds thriving at the edge of vision. Conscious of the contextual prevalence of form, she takes a new tack on materiality itself, through the mindful, visceral application of finishes and distressed surfaces that offer a challenging sense of surfaces and depth, in more meeting the eye by holding the viewer rapt with the intricacies of texture and reflection. The old is new, and the new is newer, in a novel artistic attack that is informed by her experience of life. There is an instinctive and elemental surrender in her creative process that yields a visual, iconic New Industrial Naturalism that tastefully reinvents familiar objects of hypothetically wasted incarnations and promises a world-yet-forming with a knowing, teasing smile that is one part prophecy, one part witchcraft, one part theater—unified through meticulous attention to Quality of materials and primacy of Form. The artist enjoins the viewer to join her in a wild and gleeful dance, a bacchanalian feast for the eyes, the heart, and the spirit in a playful, reflective (and reflexive) bout of self-expression—akin to turning a centrifuge into a merry-go-round.