In her work, Drema creates intricate sets comprised of augmented, thrift store-sourced toys. The gender-specific playthings reside in flesh-like environments that consume and constrict them.  Photographs of these “play sets” become the source materials for her glittering and ominous paintings. Doilies and pearls are then used as stencils to overlay and beautify the visceral forms within the painting.  The paintings’ names, such as Keep Sweet or Honey Child, carry-on the colloquial terms of her southern culture while they also dissect the problematic elements of her upbringing.

            Drema Montgomery received her BFA in ceramics and drawing from the University of Montevallo in 2011, and her MFA from the University of Georgia in 2016.  

          Drema Montgomery was born in the northeastern part of Alabama where piedmonts create a bridge between Appalachian and agrarian culture. In these rural pockets, Drema absorbed an appreciation of accumulation,  history, and nature.


The interiors of her childhood were adorned with ceramic collectibles, doily-covered taxidermy, and the ever-present severity of religious imagery. The outside was thick and muggy expanse of honeysuckle and kudzu. Traveling out of the piedmonts in her adulthood catalyzed an urge to both investigate and preserve the language and aesthetics of her formative years.