For Scheurweghs, the beauty of photography lies not in framing reality, but rather in providing the context for the viewer to frame his or her own memories and emotions. In the artwork of Scheurweghs, the male gaze is a reciprocal subject. For this beach chair, she has flipped the gaze around. Instead of a man gazing at a woman, the man become the ‘object of sexual desire’ in question. And yet, at the same time, the body remains simply a body and is not necessarily sexualised.