As a reaction to the pressures from a conservative and patriarchal society, Kimiko Yoshida left Japan and her Samurai bloodline to settle in France. "Since I left my country to avoid the slavery and humiliation of many Japanese women, I have developed a feminist protest against contemporary clichés about women's seduction and voluntary service, as well as against gender stereotypes in general." Set against monochrome, white, black, red, blue, and yellow backgrounds, the artist proceeds in a complex and ceremonial performance that she records in a photograph. By means of jewelry, hats, and makeup, she expresses herself through her body (body art) to allude to cultural translations and women (Maria Antonieta, Madame Pompadour, Medusa) or figures like the Minotaur. In these representations, she mentions the history of art (Caravaggio, Boucher, Vigée-Lebrun, Picasso). It is not a self-portrait, but a process of ritual, theatrical, and joyful transformation, in which the artist focuses on the phenomenon of female identity and the transforming power of art.