Oberst’s robust body of painting, drawing, and sculpture interrogates the construction of memory, nostalgia, themes of self-fashioning, and how codes of behavior are embedded in all forms of visual media. Contemporary cultural icons have been inserted or spliced into the work, exploring how absorption of media at all ages has an indelible impact on conception of self and others. Oberst is interested in how analog and digital media have the capacity to re-affirm or challenge societal expectations and conventions about gender, identity, and behavior. The strategic juxtaposition of organic and geometric forms in her compositions serves as a way of visualizing the internal impulses of the mind. The shapes represent reason and order, with some artworks featuring amorphous shards that stand in for past subjective experiences. Regarding the figures, Oberst plays with how profile, contour, posture, and gesture have the ability to communicate traits about anonymous subjects. She encourages viewers to consider the necessary balance between raw, unmediated expression and more rationalized, guarded modes of communication. Intentionally, there is no overarching narrative structure, a visual strategy she deploys to engage the viewer in his or her interpretation of the constructed pastiche of figures, forms, and references. These motifs can be combined and re-combined to arrive at distinctly different outcomes based on an individual’s experiences and assumptions. Oberst has shown in solo and group shows across New York City and the US including the Westbeth Gallery, Chashama’s Time Square Gallery olus a one person show at their lobby space at 45 Broadway, Denise Bibro Gallery in NYC, The Brattleboro Museum, Brattleboro, VT, Limner Gallery, Hudson, NY, with Artifact Gallery at the Miami Basel Art Fair and, Internationally, with Vit Gallery in Seoul, S. Korea. She was selected for a one-month visual artist’s residency in Oaxaca, Mexico. Her work is held in numerous private collections. She lives and works in New York City.