A seemingly romantic image also appears in Vera Korman’s work Paranoia Vera. A decorative web of flowers on a bed of shining metal sheets is revealed to be a complex weave of pornographic images in a whole range of sexual delights. It is as if Georgia O’Keefe’s flower paintings had been distorted and taken to the extreme: the images represent an ironic stereotypical affinity of woman-nature that emphasizes the formal similarity between the vegetative and vaginal world. This digitally imaged photomontage work is based on two borrowed images: flower images taken from instruction manuals for furniture decoration and pornographic images taken from porno magazines. The intensive process of assembling the two types of images is based on the repeated hybridizations and cloned patterns that “rest” on the faux-lace bed. The two contradictory aesthetic tactics – the innocent and gentle as opposed to the vulgar and sarcastic – are interwoven into a texture of camouflage and charade. Even the name, Paranoia Vera, originating in the psychoanalytical discourse (a specific type of mental illness), leads to similar meanings and points at (albeit humorously) a regime that suppresses passions. The title could also be interpreted as fear of the truth and thus charges the work with ironic autobiographical meanings. Korman creates a new sexual image that is dynamic and pleasurable, and that can also be seen as a metaphor for artistic creation.