An imposing, dark-skinned woman faces the viewer head-on, without actually looking at him. Black contours outline her body and emphasise her ample breasts. The reproduction of her body is reduced to striking effect and thus underlines the subject which runs like a golden thread throughout Copley's oeuvre: woman as an object of male desire. The ornamentally two-dimensional library in the background assembles masterpieces of Western intellectual history: Tolstoy's 'War and Peace', Einstein's writings on the Theory of Relativity, Sappho's poems, the Bible, artist monographs and volumes of the eponymous 'National Geographic'. The proud, foreign-looking woman contrasts in a deceptively humorous way with this pale cultural backdrop. Just as the painting hovers between Surrealism and Pop Art, so, too, does this malicious game of clichés remain curiously undecided - all the more because the nose ring as a sign of enslavement is ironically a real safety pin, which at the same time formulates a new pictorial concept as an objet trouvé.