Woodman crouches amongst an array of domestic objects, the curve of the upturned umbrella echoing the curve of her back. The umbrella is a much-used prop by the Surrealists, a fact that underlines Woodman's relationship with the movement. Her cropped body and averted gaze give her equal importance to the objects around her. Woodman’s 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 ghostly presence. This underlying fragility is emphasised by the small and intimate format of the photographs.