McQuilkin continues the exploration of the theatricality of suffering and the subtle connection between pleasure and pain triggered by desire. Like Maria Falconetti in Joan of Arc, McQuilkin shaves her head and offers her unadorned face to the scrutiny of the camera. In her own words the work expresses, "The circularity of trying to inhabit yourself by copying/imitating someone else who seems to fully inhabit herself, and in this process negating yourself."

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