Hap’s work is a collage through paint, drawing from historical images, film stills, digital culture, and moments from her emotional landscape. Working instinctively, she fragments these sources to trace a nonverbal logic through the process of painting. In her work Auguries of Exit, she imagines a decadent banquet in a world already ended. This arose out of Auguries of Innocence. William Blake envisioned a world where the infinite could be seen in the ordinary, where nature’s abundance reflected a cosmic order. This world was eternal and regenerative. Today, such cycles are no longer guaranteed. Instead, humanity conducts a mass taxidermy of what once appeared immutable - tempos of land, ocean, sky, all pointing toward some end.

Within this theme of exit, a modern-day Cockaigne turns into a kind of eulogic rot, a covert funeral rite playing out in isolated figures and sickly textures. She paints with thin layers, often wiping away paint to carve gestures. Many of her textures are created through grattage. She finds that these reductions and imprints become auguries themselves - faint omens of instability etched into the fraying subjects and objects.