"The Happy Ending" furthers my exploration of technique by introducing a different type of surface: mylar. Mylar doesn't allow water-based paints to soak into its surface, creating a constant sort of tension between the desires of the artist and the truth of chemistry. I enjoyed the layers that came from my previous work "Growth", so I decided to use the translucency of mylar to create depth in the piece. This also meant building a lightbox. The piece depicts a dock reaching out towards the sea, a reference to a dream sequence in Requiem for a Dream, the 2000 film directed by Darren Aronofsky.