The surrealism that dominates Nishiʼs works references an idealized mid-century American nostalgia. Faceless figures, emotionless plushies, and lifeless animals populate the idyllic landscapes of Nishiʼs world. The detached, dream likeenvironments stir feelings of curiosity and discomfort; the dramatic elements of light and shadow, as well as the unexpected loss of coherency and meaning within familiar domestic spaces of safety and comfort, recall neo-noir themes of absurdity,nihilism, and paranoia. Nishiʼs works are an amalgamation of images that she pulls from media around her, reflecting the overwhelming Westernization of post-war Japan and the resulting manufactured nostalgia that, though false and foreign, has wedged itʼs way into the collective Japanese consciousness. Through her works, Nishi questions the alienation of a culture from itself as it becomes subsumed into one flattened universal memory, painting anonymous and inhuman figures that depict the loss of meaning and sense of self within an increasingly individualistic and over-connected society. Nishiʼs works abandon assumption and convention to enter a fourth dimension somewhere between reality and fiction, causing us to reconsider our own perceptions of what is real and what is not.