These self-portrait dolls reference Manet's painting Olympia and offer a revision of history, narrative and the body. The dolls are placed on a low pedestal so the viewer has to look down on them. They are meant to confound the distinction between animate and inanimate, between natural and artificial. Their distorted bodies move away from objectification and infantile innocence associated with women and dolls. Twisted and exposed, the dolls portray strength in their vulnerability and defiant gaze.