Coming to terms with the skin condition caused by her chronic illness and reclaiming the agency it took from her, this diaristic drawing recalls the artists visits to a Glasgow hospital situated next to a reptilian hot house. Expressing her affinity with these reptiles and referencing Lolo Ferrari (the French actress and singer famous for having the largest breasts in the world), she depicts herself transmuted into a lizard with tired eyes, a drooping red-raw tongue and a phallus between her breasts. Men ogle from the side-lines, objectifying her, plying her with money and a gift of Picasso’s Guernica.