In disorientating configurations, Faux mirrors and inverts bodily forms- this fragmentation is a compositional and psychological tool.  In this work she considers the split identity of the self that one occupies and the self that one can see; a physical body and its reflection. To her, neither is entirely whole and so she keeps her paintings fluid, images slightly out of reach. In this way, Faux invites us to occupy the at-times uncomfortable space between perception and recognition. Organized from a first-person point of view, Faux's paintings build upon earlier feminist approaches, that of painters Joan Semmel and Luchita Hurtado. This perspective compels onlookers to both occupy a feminized body and viscerally participate in its creation.