In That’s What Reality Looks Like, the artist’s body becomes both a surface and a site of critique. Over the course of the performance, pages from women’s magazines—each bearing curated, commodified images of femininity—are carefully glued onto the artist’s skin. The process is slow, deliberate, and uncomfortably intimate, transforming the body into a living collage of idealized beauty standards and media fantasies.

This durational action exposes the tension between internal identity and external expectation. As the body disappears beneath layers of glossy images, the performance questions whose realities are represented, sold, and consumed. The title functions as both a provocation and a contradiction: What is real when reality is mediated by commercial aesthetics? Where does the self begin when the body becomes a billboard?

Through repetition and endurance, the performance invites reflection on how mass media constructs femininity, how those constructions are internalized, and how resistance might begin by laying them bare—literally, and collectively.