Her mixed-media work Hybrid Creatures (2023) reveals how bodies become an arena for social, political, and cultural conflicts. The work asks what love looks like when photographed by women: staged intimacy formerly captured by male amateur photographers is censored by means of flowers and butterflies. These hybrid encounters emerge as an act of resistance against objectification and as a shifting of the narrative. Through the superimposition of corporeality onto natural motifs, a strategy of "overlay resistance" becomes visible: identity is partially obscured to facilitate other, deeper connections and to liberate the subject from its original context. Hybrid Creatures was featured in the third publication LOVE by femxphotographers.org, continuing the collective’s feminist and collaborative approach to photographic discourse and the deconstruction of the male gaze.