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Such themes are also present in her music videos: she has incorporated her "sexy" image into her videos since "Kiseki" through sexually charged dances and skin-baring outfits.
Although Koda had always been known for her changing fashions in her music videos, the video of "Kiseki" marked the beginning of her incorporation of her sexy image into her music videos.
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After starting out as a purely abstract painter, Ms. Hartigan gradually introduced images into her work.
Sheba Chhachhi and Sukyana Rahman, working in video and photo-collage respectively, consider the sexual politics these advertisements sell, while Pushpmala N. takes such images into her own hands in a series of fabulous pictures, shot by the film studio portraitist J. H. Thakker, in which she enacts a variety of female film stereotypes, from temptress to ingénue to earth mother.
She also painstakingly copied by hand many family photographs, letters, local maps and excerpts from her own childhood journal, incorporating these images into her narrative.
Her problems were too recurrent and numerous to be kept out of the press, but, as Basinger says, her bad-girl image fed into her movie roles.
In "Self-Portrait/Cutting," which Opie made in 1993, when she was thirty-two years old, she stands shirtless with her back to the camera in front of an emerald-green tapestry, which offsets her pale skin and the rivulets of blood emerging from an image carved into her back with a scalpel: a childlike scene of a house, a cloud, and a pair of smiling, skirt-wearing stick figures.
While working on the album, ideas began to circulate concerning Rihanna's image, extending into her music videos.
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