Building on this historical notion, Willhide adopts the fake flower as a symbol of the nonsensical expectation of image culture. Together the pieces cultivate a conversation about female beauty and desire, and, the “stuff” of female beauty and desire: corsages, wedding bouquets, muscular men, fields where passion ensues, love letters. Despite referencing these classic clichés (each of which celebrate youth and surface beauty), Willhide's girls are not to be called honey bun – they are different. They are uninterested in the viewer's gaze, they have power and their images are un-tethered from fixed definitions. Ultimately, Willhide shows us that being frozen in time is a paradox, not an aspiration. Fake flowers and photographs can be absurd proxies for the real thing, yet Willhide reconfigures them in such a way that their qualities become deeply psychological, symbolic and perhaps even supernatural.