The subject of the work, Tania, is photographically reproduced on canvas by the superscan laser technique which involves computer-controlled airbrush guns spraying acrylic-based pigment inks. Tania is shown in black stockings and underwear, appearing to perform a strip-tease for the camera. The figure is surrounded by impasto glitter paint pipped, brushed and spread across the canvas. The entire environment surrounding each figure has been articulated and decorated with glitter, gel, and reflective fragments of plastic and found objects.
Pat Larter’s collage works, which she called ‘super scans’, recall a kitsch decorative aesthetic often associated with women’s craft. Larter used this aesthetic to critique associations of femininity with certain kinds of art, as well as sexualised imagery to challenge ideas of ‘good taste’. Throughout her career Larter tested the protocols of art-making, being one of the few Australian women artists to contribute significantly to ‘mail art’ in the 1970s, which she called ‘femail art’ to indicate the significance of her gender in her work. This movement sought to use ephemeral art-making methods to undermine the commodification of art objects.