This ethos of vaginal power and politics is similarly echoed in Stoltmann’s photographs. In Spray Bush, Stoltmann crops her figure, placing minge up front and centre: graffiti coated with a layer of neon pink her sex is simultaneously transformed into both an audacious beacon and hazard sign. Her Listen series collages seashells into pornographic crotch shots reminiscent of Corbet’s The Origin of The World, reinforcing the idea of feminine alignment with nature, creation, and spirituality.

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