Invers (2024) is a visual response to the way society perceives and reacts to the femme body. The installation features several components, each exploring this idea to position the viewer to reflect on their own internalised bias. Deconstructed Bodies (cubes) are an interactive work, with the viewer invited to rearrange and reconstruct new, abstracted representations of the form. The Performed Body is a direct response to the impact that an environment has on how the body is viewed. Bridge intentionally juxtaposed a soft, fluid form in a rigid, constructed environment, prompting the subject to emphasise the fleshy nature of her skin. This resulted in a performance, which was documented in darkness within the urban landscape. How Can This Be? was a starting point of this project, exploring the body as a fluid, interconnected form rather than an object of sexual desire. The work positions the viewer to engage with the body as flesh rather than an object associated with a gender. Invers, the pilot work in this series, features a concertina book of small panels, each "incorrectly" censoring the form. The work plays on the idea of censorship of the body in contemporary Western society, with each panel featuring what Bridge denotes as "inverse censorship" and other digital intervention techniques. The scale of the work invites a one-on-one intimate viewing experience of the body, positioning the viewer to question the traditional "male-gaze" that is so engrained within Western media and culture, and how this has shaped their view on the body in terms of object-hood and autonomy. Similarly to The Performed Body, To Interact is a sculptural response to the relationship between flesh and rigid environments. The work features a photograph of the flesh, pinned and stuffed onto a concrete-like pillar. The work invites a conversation about the relationship between the rigid and the fluid, removing object-hood and desire from the equation.