Grzeszykowska reverses that dynamic by literally turning herself into an object to be poked and painted, set afloat in a pond or buried in the dirt. Because Franciszka determined her own interactions with the doll, she was also, in Grzeszykowska’s view, an active participant in the work. In one of the most haunting photographs in the series, the doll sits on the bed, with Franciszka’s bare legs emerging from the shadows behind it, her small hand resting on the doll’s shoulder. This image came about not through Grzeszykowska’s instruction, but because her daughter was tired of participating the project and decided to hide. Other actions found in the series were also initiated by Franciszka, from offering the doll a cigarette to painting its face or washing its hair. “My daughter is the subject and the author here; I am the object,” Grzeszykowska said.