In Nihura Montiel’s studio—a former upholstery shop on an inconspicuous block of Pico Boulevard in Los Angeles—fluorescent track lights cast an even, bright glow over stainless steel tables; suede jewelry cases neatly line countertops, brimming with pyramids of loose charcoal; and bouquets of feathery makeup brushes fill bountiful jars, bristles shiny and taut. Each fixture has an air of meticulousness—an austere sanctuary for the seven grayscale canvases that hang from each wall, depicting a model boat, a bejeweled buddha, a rooster figurine, a cocktail shaker, a decorative mirror, a glass cat, and a sculpture of the blindfolded goddess Fortuna. Seated on a spotless cream sofa overlooking her work station, Montiel stacks piles of reference materials across a coffee table for perusing as she embarks on a discussion of her latest series: Corporate Goddesses.
