In works that use the figure, disturbingly familiar clothing and landscape to deconstruct –or perhaps reconstruct- the idealised images of maleness and femaleness, Risk Hazekamp’s work often exists in a state of ambivalent “femanliness”. Is she seeking to attain the perfect image of a lesbian Malboro woman with tinges of a female James Dean? Or is she asking us to think about how Hollywood manipulates us? And does the bullfigher imagery challenge the sexist swagger of Hemingway or reflect a blatant admiration? Sometimes it is difficult to tell and perhaps one does not need to since therein lies the power of the work to arrest.