Many of her self-portraits, the earliest of which date from the end of the 1970s, belong to the vocabulary of the paid-for erotic frisson, something of the peep show, something of the Reeperbahn. There is nothing obscene about her photographs, only a cheap promise in the form of almost always black and white photography, sometimes with added colour (for example by a small heart on a pair of briefs) and framed, indeed outright flanked, by sculptural elements referring to the red light districts of major cities or the love motelson their outskirts. The artist reproduces the stereotypes produced by men making woman an object of desire.