Faber’s 16 foot long piece “Shotgun Wedding” was featured in Black Cube Nomadic Art Museum’s “What We Hold On To,” a nominee for the 2026 ArtNews Awards Best Gallery Group Show and a Top Exhibit of 2025 according to The Denver Post. She is an alum of the Drawing Never Dies residency. Faber received training in hand drafting, rendering, and perspective drawing from world-renowned architectural illustrator Tamatsu “Tommy” Yamamoto at Chamberlayne School of Design (Mount Ida College, Boston), where she was the recipient of the Thesis Critics’ Choice Award and earned a Bachelor of Science. She previously worked in camera and lighting departments in documentary, narrative, and experimental films, to which she credits her aversion to relying on cameras for image-making in the studio. Her practice utilizes freehand drawing, perspective drafting, and a meticulous application and layering of color. She currently lives and works in Denver.
STATEMENT
My large-scale figurative oil paintings focus on the intergenerational legacy of “Traditional” American Values in white, small town American families.
My work focuses on relational inflection points painted in the high-noon, arid color palette of my rural Colorado youth. First in detailed concept drawings and later on canvas, I employ training in cinematography, architectural drafting, and extensive study of the figure and anatomy to develop constructed narratives of the nuclear family in varying states of distress and complacency. Cinematic, slight high-angle compositions invite superiority over the subjects, while subtle distortions of perspective trap the viewer as complicit in the action. Pattern repetition and recurring iconography of shotguns, alcohol, flowers, and family heirlooms indicate the origin and cyclical impact of rugged individualism. Rejecting the long-romanticized rural horizon, I often place figures in suffocating landscapes from which there is no escape.
These narrative works are grounded in observation, collected oral histories, and research into the origin of idioms, norms, and propriety in small town America. My work trades easy condemnation for questions of romanticization, cultural coercion, and shifting values, and the impact on power and agency for those who are expected to abide by and uphold an America that didn’t actually exist.