In Visual Pleasure and Narrative Cinema (1973) Laura Mulvey asserts that the patriarchal order inherent in cinema leads to the now well-established theory regarding the male gaze, during which the female is considered as object and as other. As the congenital patriarchal nature of narrative cinema allows only a male perspective, female viewers have subsequently appropriated the male gaze. This result is both male and female viewers contextualizing the female within the narrative as other, existing only in relation to the male protagonist as an object serving as a narrative catalyst. The aesthetic approach of this series attempts to de-sexualize the body in order to negate the prevalent and inherently sexualized gaze and embrace ambiguities between the body and identity. The abstract overture and infrared process within this body of work is an attempt to negate the sexuality of the nude figure by working in ambiguous areas of the body that are initially unrecognizable, pulling the viewer into a visually articulated awareness via an absence of the traditional framing of the gaze.