Woodman has photographed herself at the very edge of the composition, emerging like a spirit from a shaft of light. The hanging clothes echo her body, seeming to hover with a life of their own. Alone and naked, Woodman appears vulnerable, underlined by the small and intimate format of the photograph. Her photographs explore issues of gender and self, looking at the representation of the body in relation to its surroundings. She usually puts herself in the frame, although these are not conventional self-portraits, since she is either partially hidden, or concealed by slow exposures that blur her moving figure into a surreal, ghostly presence. Woodman uses a mirror as a prop ? it becomes a symbol of artistic self-reflexivity, reflecting the `eye? of the camera back upon itself.