This body of work visually explores the influence of second-wave feminist art on the contemporary artist. Being a fan of feminism as a methodology for art making was devised by Catherine Grant in her essay Fans of Feminism: Re-writing Histories of Second-wave Feminism in Contemporary Art in which Grant explores the definition of the fan, and their obsession with the fan object.

This installation shows the documentation of artworks created by the dedicated teenage artist/fan. She is seemingly obsessed and committed to her idols she reproduces and memorialises her pin-ups in the form of fanzines, drawings, photos, films and bedroom shrines. Her objective idols are VALIE EXPORT, Birgit Jürgenssen, Katalin Ladik, Ana Mendieta, Ewa Partum and Francesca Woodman. 

This installation accompanied the written dissertation A space to be seen and heard: The Legacy of VALIE EXPORT. The second-wave feminist use of new media as an art discipline in 2018.