[8] A central focus of Maybury’s artistic practice is the tension between the power she wields as a dominatrix and the gendered dynamics of such an interaction between men and women, as in the case of sex work.

In subjecting her male submissives to such menial tasks of labour (for instance, drawing the cover art for a show in pencil), Maybury transforms her position as an object of fantasy in men’s eyes into a tangible power over them.

Her work has drawn comparison with Toulouse-Lautrec’s famous compositions of sex workers, often captured in moments of repose between their acts of sexual labour.

Ugelvig describes how Maybury’s ‘Used Men’ series (2021) depicts the clothes of a presumably naked male submissive, an image we are left to imagine for ourselves, strewn across the floor of the gallery space, “safely re-branded as artwork”.

Maybury, then, simultaneously lampoons stereotypes about the art world whilst illuminating the discontinuous imbalances of power in sex work.