“…Filtered through loaded metaphors of the tropics via film, war, tourism, as well as my mother's stories of home and WWII -the constructed set purchased from eBay, represents both Los Angeles and the Philippines, through constructed notions of home and paradise." 28 Rapture can be read as a display of the desire for an imagined rootedness, as the background behind Osterloh's figure evokes images of Acapulco or Manila Bay. The artificial scene, composed of 1970s college dorm-room wallpaper depicting a stereotypical "tropical tequila sunset" and Mexican blanket, frames her figure, faced away from the camera, inviting the viewer to look with her into the scene depicted on the wall.…”