Using painting as a tool for plausible invention, Cris Brodahlâ€™s work examines the construction of illusion. In Wax Alter, she portrays a porcelain Madonna sculpture, using the subtle devices of representation to quietly subvert the image. Rendered in greyscale, Brodahl adopts the language of photography to enforce expected modes of seeing: the blurred horizon line in the distance creates believable perspective, and the objectâ€™s reflection enforces solidity of ground. Describing the figure itself, however, Brodahl dulls the contrast, inviting confusion between flat and three-dimensional space. â€˜Collagingâ€™ in the half-face of a fashion model and an ostentatious hairstyle, Brodahl accentuates uneasy relations between reality, representation, and artifice, centred around the female form.