Patterson, who splits her time between Kingston, Jamaica, and Lexington, Kentucky,* has described the work as kitsch, camp, colorful, and steeped in artifice. The androgynous fashion and hyper-stylized, stunning intricacies of each portrait mark gender identity as a fluid fluctuation or performance. In the past, men who participated in dancehall did not wear tight-fitting apparel for fear they would be deemed "suspect," their sexuality questioned and respect lost. Patterson highlights a shift in this perception: Now masculinity appropriates trends from women's fashion, and thus broadens acceptable performances of masculinity, a slight evolution in sensibility to a music genre with a reputation for being aggressively homophobic. Patterson also examines the practice of skin bleaching by women and men in dancehall culture, representing this pigment loss by attaching clusters of glitter and jewels across the bodies and faces of the subjects. Mapping the flamboyance of dancehall culture onto tapestry, Patterson also acts as historian, looking closely at these working class bodies and the cultures they create.