On my first trip into Creedmoor State Hospital in 2006, on the pigeon-poop-saturated 4th floor of Building 25, I came across the faint hints of some patient art that had been painted over with pink paint. With my fingernails, I scraped away a little more and saw that, indeed, there was a mural hidden under the paint. On my next trip, I brought some steel wool pads and proceeded to lightly run them over the pink paint until this beautiful image - presumably painted by a patient in the institution - was mostly uncovered. I would have gone farther, but after a half-hour, I was getting dizzy from the fumes coming off the pigeon poop. I took this photograph of the mural, a wonderfully serene image on the wall of a relatively dismal asylum building.
The themes in Audrey Kawasaki’s work are contradictions within themselves. Her work is both innocent and erotic. Each subject is attractive yet disturbing. Audrey’s precise technical style is at once influenced by both manga comics and Art Nouveau. Her sharp graphic imagery is combined with the natural grain of the wood panels she paints on, bringing an unexpected warmth to enigmatic subject matter.
The figures she paints are seductive and contain an air of melancholy. They exist in their own sensually esoteric realm, yet at the same time present a sense of accessibility that draws the observer to them. These mysterious young women captivate with the direct stare of their bedroom eyes.
Some of Kawasaki’s works expresses themes of female love, and others indicate that the female (not the male) is the one in charge of the situation. These are the works of a 21st century woman artist — the “fairer” sex is no longer the weaker sex. There are also some representations of boys as eye-candies for the females. <source>