‘1924’ explores the beliefs of the male-dominated Surrealist movement and the deeply-troubling objectification of the female form at its core. The artist’s self-portraiture utilizes the visual language of the Surrealists in order to construct a new meaning within the works created by male artists of the movement, one where women’s bodies are seen not as a medium to reflect the male artist’s values, but as a means of self-expression - combining photography as well as darkroom techniques of the time in order to bring forth the subliminal and confront the male gaze.