Recent Paintings, folding under the umbrella of Ostermann's artist statement: 

Working with banal symbols, words, and objects juxtaposed with moments of abstraction, recognizable images and objects, Ostermann creates grids, windows, and overlapping image structures that create a screen through which the picture is perceived. These filters are intentionally defunct, employing layers of transparency and overlap to suggest destabilized meaning and subjective response. The intersection of symbols and recognizable objects and moments of abstraction propose notions of fantasy, decoration, femininity, and the digital realm, as well as root the symbols in a nonexistent material and bodily plane.
In this newer body of work, Ostermann continues exploration of digitization and creation of pop cultural images of femininity. She is interested in the intersection of reality, digital reality, and hyper produced imagery through mainstream pop outfits (i.e., major record companies, advertising agencies, specific designers, etc.) and how these images create a communal dissertation of pop femininity to be consumed at rapid fire online and replicated in the real world through capitalism. Further, using decades-old images of pop stars, cheesecake pin-ups, dead princesses, or out-of-date imagery alongside contemporary pictures, the work invokes non-linear notions of time, nostalgia, and the future through compressed and collaged digitally-collected images.

Ostermann works frequently during the day as a floral designer, therefore, she often turns to flowers are subject matter--they provide the soft abstraction and contextual femininity that she seeks in relation to her previous works, as well as florals transcend most aesthetic pop culture trends, while still remaining relevant. She likes to mix and match her material for the image, resulting in many multimedia drawings. 

Ostermann creates murals for clients whose visions align with hers. Oftentimes, she selects floral imagery, again for the abstract softness and contextual femininity. Oftentimes, these murals are painted in highly gendered spaces, which provides a fertile stomping ground for further conceptual meaning to the artist. 

Here Ostermann produces small, affordable works with a more playful and flexible aesthetic and collage-based concerns.

Originally shown in 2013 in a self-curated show of the same name at Maryland Institute College of Art, Ostermann created paintings in this series until 2016. 

Working with banal feminine symbols, words, and objects juxtaposed with moments of abstraction, recognizable images and objects, Ostermann creates grids, windows, and overlapping image structures that create a screen through which the picture is perceived. These filters are intentionally defunct, employing layers of transparency and overlap to suggest destabilized meaning and subjective response.

The intersection of symbols and recognizable objects and moments of abstraction propose notions of fantasy, decoration, femininity, and the digital realm, as well as root the symbols in a nonexistent material and bodily plane.