Double Take — Shannon Milar

In this series, I work with found images from mid-century magazines, cutting figures out of the printed worlds they once inhabited and suspending them between clear and mirrored acrylic. Each piece becomes a viewing assemblage: the image floats in front of its reflection, and the viewer's own image enters the composition, changing what's visible depending on where you stand.

I'm interested in how perception shifts — how the act of looking can alter what we think we know. These works invite you to move, to catch yourself in the mirror, and to consider how images from the past have informed the ways we see today.

Derrière le sourire by Shannon Milar — Double Take series. Cut from mid-century magazines, found images and text are pressed between clear acrylic sheets set before a mirrored panel. A composed figure overlays an urban scene, the mirror revealing both faces of the printed page. — Derrière le sourire
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Do you have to be dazzled? by Shannon Milar — Double Take series. Cut from mid-century magazines, found images and text are pressed between clear acrylic sheets set before a mirrored panel. Figures adorned in glitter and feathers reflect through mirrored text and gaze, exposing the artifice of display. — Do you have to be dazzled?
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Looking forward by Shannon Milar — Double Take series. Cut from mid-century magazines, found images and text are pressed between clear acrylic sheets set before a mirrored panel. A family group is fragmented by mirrored reflection, where the printed text slips between affection and instruction. — Looking forward
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Truth or fiction? by Shannon Milar — Double Take series. Cut from mid-century magazines, found images and text are pressed between clear acrylic sheets set before a mirrored panel. Juxtaposed portraits meet reversed headlines, where image and language overlap in reflection. — Truth or fiction?
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I'll be watching you by Shannon Milar — Double Take series. Cut from mid-century magazines, found images and text are pressed between clear acrylic sheets set before a mirrored panel. Layered figures in bold pattern meet mirrored fragments, where gesture and reflection unsettle the frame. — I'll be watching you
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Where angels fear to tread (rose) by Shannon Milar — Double Take series. Cut from mid-century magazines, found images and text are pressed between clear acrylic sheets set before a mirrored panel. A poised figure framed in pink satin meets reversed print, her mirrored image exposing both sides of the page. — Where angels fear to tread (rose)
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Where angels fear to tread (gold) by Shannon Milar — Double Take series. Cut from mid-century magazines, found images and text are pressed between clear acrylic sheets set before a mirrored panel. A poised figure framed in gold satin meets reversed print, her mirrored image exposing both sides of the page. — Where angels fear to tread (gold)
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Keeping Sigrid in sight by Shannon Milar — Double Take series. Cut from mid-century magazines, found images and text are pressed between clear acrylic sheets set before a mirrored panel. A figure with red hair reflects across mirrored faces, where image and text converge through shifting planes. — Keeping Sigrid in sight
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Seeking the coolest spot by Shannon Milar — Double Take series. Cut from mid-century magazines, found images and text are pressed between clear acrylic sheets set before a mirrored panel. Figures entwined in bright color and print meet in mirrored reflection, exposing both sides of the page. — Seeking the coolest spot
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Civil rights (of passage) by Shannon Milar — Double Take series. Cut from mid-century magazines, found images and text are pressed between clear acrylic sheets set before a mirrored panel. A group of suited men gestures in unison, their mirrored doubles fractured by the printed page. — Civil rights (of passage)
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