Victor's work uses the figure, often her own self-portrait, to create complex narratives relating to contemporary South Africa and to the more global crisis of war, corruption and violence in both the public, political and in private life.

According to Virginia Mackenny, Victor's work challenges the viewer "to scour her heavily packed images, densely rich in individual detail, to discover their levels of irony and action.

Singularly devoid of any classicising hope of order, these images recall Breugel or Bosch in their pessimistic view of the world and the heaping of one folly on top of another".

"[2] Victor's ability to keep moving forward throughout a career that spans over 30 years, has ensured that she remains at the cutting edge in terms of craftsmanship and techniques.

[3] In her portfolio of dry point prints, Birth of a Nation (2009), published by David Krut Projects, Victor explores the history of colonial engagement in Africa in the context of contemporary corruption and imperialism.

To Victor: "The images I am working with are taken from our daily media coverage of recent and almost commonplace happenings in newspapers, on TV and on radio of social and criminal acts of violence and ongoing unnecessary deaths – occurrences so frequent that they no longer raise an outcry from our public, yet they still constitute disaster in peacetime.".

As a print maker, Victor's interest has led her to work with several lithography studios around the world in South Africa, France and the United States.

[3] Victor's smoke portraits explore subjects often overlooked, for example South African prisoners awaiting trial and missing children.

[6] Victor made another series of large smoke drawings of farm animals on glass called "Brief Lives", which were displayed in an abandoned abattoir.