Parts uses 1960s pin-up photographs as its source material. The pictures are digitally altered, obliterating most of the model and leaving only a leg intact. The resultant mood is macabre – the severed limb does not entice and the photograph's original erotic effect is turned on its head. When just one leg of the model remains, this leg calls attention to the rest of the scene. Viewers may try to piece together the original position of the model, or perhaps accept the leg as an absurd interior decoration or prop.
The new works use fragments of positions from pin-up images to describe potential movement, for example a photographic score made from a sequence of poses repeated in modulating patterns. Longer or shorter exposure times while printing the pictures introduce the temporal element of the sequence. Another new work utilises three risqué photographs taken by Irving Klaw in the 1950s of Bettie Page and other pin-up models. The purchased photographs are reframed, so that a passe-partout conceals most of the photographs, leaving only an isolated section of each picture available for the viewer to see.