If one were looking to tie this work down via iconography (precisely the wrong approach), one might be tempted to see the artist as here pursuing a semi-oblique feminist agenda orbiting around performance, role-play, adornment, containment. But she seems more interested in scrambled typologies and the uneasy pleasures of, to quote René Magritte, the treachery of images. If pre-existing, these photographs meant one thing in a catalogue, museum or wherever, and now they signify something else or, intrinsically, nothing at all: detached, rivulets in a larger directional flow. 'Thanks, Internet,' such work murmurs. The artist wants to denote that presiding context without directly addressing it, performing its knock-on effect on materialist media. Extract by Martin Herbert, Frieze Magazine, Oct. 2012.