This painting arose from thinking about the sense of intractability and in turn horror that some people experience when they contemplate life forms that exist inside other life forms (like a caterpillar pupating inside a flower), a certain kind of interiority that corresponds to the female body, the woman's capacity to grow a new life. The three figures, three versions of the self, swap bodily fluids - breastmilk, piss and menstrual blood. The fluids form into quite festive little vignettes along the way, bringing a sense of fun to the exchange. Unlike the three graces, who embody charm, beauty and creativity, the women here eschew social norms in favour of expressive vulgarity. The painterly background references a detail from Interior with Wardrobe Mirror (1955) by Grace Cossington-Smith, an Australian modernist painter. In this painting, the wardrobe mirror at the centre of the composition reflects the outdoors, framed by a sumptuous array of fabrics and surfaces. The artist, in spite of the mirror, is absent from the scene.