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(function(l,f){function m(){var a=e.elements;return"string"==typeof a? a.split(" "):a}function i(a){var b=n[a[o;b||(b={},h++,a[o]=h,n[h]=b);return b}function p(a,b,c){b||(b=f);if(g)return b.create Element(a);c||(c=i(b));b=c.cache[a]? (c.cache[a]=c.create Elem(a)).clone Node():c.create Elem(a);return Have Children&&! b.cache)b.cache={},b.create Elem=a.create Element,b.create Frag=a.create Document Fragment,b.frag=b.create Frag(); a.create Element=function(c){return! b.create Elem(c):p(c,a,b)};a.create Document Fragment=Function("h,f","return function(){var n=f.clone Node(),c=n.create Element;Methods&&("+m().join().replace(/\w+/g,function(a){b.create Elem(a);create Element(a);return'c("'+a+'")'})+");return n}")(e,b.frag)}function q(a){a||(a=f);var b=i(a);if(CSS&&! Prager's current exhibition at The Hole NYC is titled "Voyeur," referencing both a person who likes making the private public, and a person who gets sexual pleasure from secretly watching others.In a conversation with The Huffington Post, Prager discussed the excitement of looking where one should not in relation to social media.Mascara, when clumped on layer after layer, becomes something almost inhuman; lacquered eyelashes appear like a spider dipped in tar.Painter Vanessa Prager likens her maximalist oil paintings to women's cosmetics."People add their own information into things; they’ll make up their own stories of people or things or how great they can be and how perfect it all is.

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Prager's current exhibition at The Hole NYC is titled "Voyeur," referencing both a person who likes making the private public, and a person who gets sexual pleasure from secretly watching others.

In a conversation with The Huffington Post, Prager discussed the excitement of looking where one should not in relation to social media.

Mascara, when clumped on layer after layer, becomes something almost inhuman; lacquered eyelashes appear like a spider dipped in tar.

Painter Vanessa Prager likens her maximalist oil paintings to women's cosmetics.

"People add their own information into things; they’ll make up their own stories of people or things or how great they can be and how perfect it all is.

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Makeup both accentuates the real, obscures the imperfect, and actualizes the artificial.

A little blush can highlight the cheekbone while some concealer can brighten up those dark eye circles.

They paint a picture that's not quite real and not quite fake, a carefully constructed combination of fact and handy contouring.

Prager's densely layered paintings, with pigment applied so thickly it forms its own topography, contain too much visual information to digest right away.

The various strokes of color -- a ribbon of white like a squirt of toothpaste, a sharp sliver of green like a fish darting by -- come together to form different visual narratives.

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No two viewers encounter the same portrait the same way, just as no two people encounter the same person the same way.

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