"The Happy Ending" furthers my exploration of technique by introducing a different type of surface: mylar. Mylar doesn't allow water-based paints to soak into its surface, creating a constant sort of tension between the desires of the artist and the truth of chemistry. I enjoyed the layers that came from my previous work "Growth", so I decided to use the translucency of mylar to create depth in the piece. This also meant building a lightbox. The piece depicts a dock reaching out towards the sea, a reference to a dream sequence in Requiem for a Dream, the 2000 film directed by Darren Aronofsky.
After the mylar layers took an accidental dip in a pool of water, the paint re-activated and started to run and deteriorate. While I did have to fix areas of the painting, the deterioration in other areas gave a sense felt appropriate. The title ended up becoming meta as a result.