The work explores portraiture as a way to engage in ideas of fiction and romance. The portraits are composites of imagined crushes and attractive characters that intend to capture tenderness, sensuality, violence, and worship. The work is interested in the moment that a romantic archetype becomes violent, hostile, menacing, or uncertain. While the pieces draw from an art historical context of 17th century Dutch portraiture, it also draws from a literary context of 19th century literary heroes and villains. The portraits also consider the archetype of the young male musician that is defined by narcissism and beauty that is used as a vehicle to paint the subject. In contrast, the work also draws on notions of camp as noted by Wilde and Sontag through glittered and iridescent surfaces. Androgyny is a subject considered throughout the work as an ideal of beauty. The feminine boy is an ideal and is irresistible to young female audiences to be able to control their sexuality. A similar idea is also reflected by fans of bands and musicians, in which young female audiences idealize a preferred band member and use it as a vehicle to own and access their sexuality. In addition to portraiture, the work explores representations of nature, such as the flower and the peach as objects of romance and sexuality. An exploration of gestures act as album covers to indicate a fiction. The idea is to enforce the fiction by creating fictional bands and albums that evoke ideas of romance.