Elizabeth Renstrom lures audiences into her deep pastel-hued images with “brilliant poppy colours, fuzzy textures, and typically softer materials”. But, for the Brooklyn-based professional photographer, it’s all a mild rouse to “deactivate people before they’re challenged with the in some cases thornier subjects” covered in her work. And yes, it’s simple to capture yourself ogling at shiny subjects soaked in Y2K nostalgia, but reserved the rose-tinted glasses and you’ll see Elizabeth’s satirical musings. This includes expeditions on “personal areas, how visual culture affects us, and our cumulative connection to beauty and items”, she says.Having been the senior picture editor at The New Yorker and, prior to that, Vice Media, Elizabeth knows what makes an image work. Nevertheless, she continuously colours outside the lines. Her prop-driven still life and portraiture studio work, which she refers to as “saturated & satirical”, discovers motivation in artists like Adrienne Salinger, Terrell Davis, Sue De Beer along with in filmmakers like Todd Solondz, Karyn Kusama and Céline Sciamma. It’s this mix that leaves the work exuding with charm.