Stenram’s most current series, Drape, uses vintage pin-up photographs as its source material. The women in these photographs are posed in interior domestic sets in front of curtains or drapes, offering a glimpse into intimate space. In Stenram’s versions of these images, the curtains are extended to partially obscure the women.
The background envelopes the focal point and the foreground slips into the background. The curtain vacillates between striptease-drape and blind or shutter, reinforcing its role as a barrier between public and private. The resulting image makes no attempt to look ‘real’; rather, it submits to a cut-and-paste collage aesthetic whose ultimate referent is the act of photography itself.