Dozier uses her own image across three films to playfully but incisively unpeel the layers beneath performed sexuality and love’s gaudy desperation. Referencing commercialism and excess— with nods to a Japanese ad featuring Faye Dunaway & Charles Matton’s ‘Spermula’, respectively— and satirizing the darkness of innocence lost, the trilogy enlists the artist’s body as an empowered guide to its own complex history amid a sea of cultural signifiers