Bellmer similarly fetishized manufactured objects and the human body simultaneously, treating commodified forms as ritualistic and erotically charged artifacts that collapse desire and mechanical production into unsettling sacred imagery.

McCarthy consistently elevates consumer products and corporate objects into perverse ritual fetishes, interrogating the intersection of sexuality, commodity culture, and reverence with the same provocative directness present in this digital collage.

Simmons stages consumer objects and domestic commodities as subjects of strange devotion and desire, using photographic and collage techniques to expose the fetishistic charge embedded in mass produced objects and their relationship to human bodies.