Janet Bruesselbach was raised by scientists in California in the 1980s. She attended RISD for a BFA in Illustration (2006), and the New York Academy of Art for an MFA in figurative painting (2009). She parents a young human and works out of Queens, NY.

Bruesselbach uses figurative oil painting toward speculative realism, melding human intimacy with radical relationships to technology. The artist’s imaginative experiment seeks cyborg feminism, representing embodied subjects, captured during conversational live poses, within non-representational, generative spaces. Its influences manifest as emphatic lucidity and pulp surrealistic excess moderated with pragmatic humor. Movements evade dominant narratives, aiming to celebrate queer humans and queerer concepts with diverse community engagement. Compositions often deliberately challenge expectations of spatial orientation, setting, consistency, and aesthetic values, driven by sensual exuberance.

The artist works independently on series and often through crowdfunded projects. It has made a self portrait every year since age 13 and has been incorporating figure drawing and digital space photography nearly as long. Other projects include Teleportraiture, small portraits done from live video chat poses. Daughters of Mercury's full body portraits depicted trans women the artist loves and admires as they wanted to be seen. Paleofacture is a science fictional series that considers ancient evolutionary innovations as technologies. Beloved Monsters explored queer and neurodiverse sympathies with mythic creatures. Analog Imagination engages public collaboration, as it paints inventions from prompts submitted through an online form, in conversation with the current disruption of “AI” image generators. Lunoids maps color to time in the form of robot pinups.