In 1989, feminist art group The Guerrilla Girls conducted a 'weenie count' in New York's Metropolitan Museum of Art and, finding that women represented only 5% of its artists but 85% of its nudes, asked, 'Do women have to be naked to get into the Met. Museum?" Twenty years later London-based artist Cecile Emmanuelle Borra is seeking determinedly to redress that balance. Inspired by the work of media theorist Laura Mulvey, Borra's work reverses art's traditional gaze, turning its fetishistic gaze, for once, upon the male body. Of Borra's birthplace, the southern French town of Pau, the poet Alphonse de Lamartine once claimed, "Pau has the world's most beautiful view of the earth just as Naples has the most beautiful view of the sea." Borra left France for London in 1987 but never lost its eye for beauty, eventually studying at Goldsmiths college, where she met Romy Northover and Oriana Fox. After graduation, the three would exhibit together with the FemAdLib Kolektiv, displaying a shared interest in representations of gender and the body. After attracting attention at the European Optica Festival and Helmut Newton's 'Ladies Nights' at the RSA, Borra exhibited her first solo show earlier this year at Sketch, in London. A Mayfair gastro-brasserie, renowned for its modern French cuisine, may seem like an odd choice for an art exhibition - espectially one with the precise content of Borra's 'Kaleidoscope'. As the name suggests, the piece consisted of a constantly shifting pattern of images, similar to those seen through the tubular optical devices so beloved of children, with one significant exception. The images in Borra's kaleidoscope were composed entirely of photographs of an object scarcely seen in an art gallery, let alone a fashionable restaurant - the male member. "A transgression of the gaze," claims Borra, "would implicate a separation from any of the stereotypical modes of representation and a blurring of the gender lines where the symbol (the male-female category) is not easily recognisable, subsequently opening new territories for absorption and interpretation." Her kaleidoscope's curious admixture of the decorative and the sexually confrontational creates an oddly jarring sensation, hypnotising yet estranging us, and forcing us to question our traditionally held views of art and the gendered body. This talk of transgressing 'the gaze' recalls Laura Mulvey's mid-70's essay for Screen magazine, 'Visual Pleasures and Narrative Cinema'. The scopophilic pleasure of the cinematic appratus relied, Mulvey argued, on a gaze split between an active male and passive female priniciples. "The determining male gaze projects its phantasy on to the female form which is styled accordingly." She went on to say, "Woman displayed as sexual object is the leit-motif of erotic spectacle: from pin-ups to striptease, from Ziegfeld to Busby Berkeley, she holds the look, plays to and signifies male desire." The work of Cecile Emmanuelle Borra can thus be seen as a response to this critique and an attempt to start overturning the patriachical mode of apprehension it diagnosed. Her new show, 'I love Machos, I love Ponchos', to be held on September 26th at the SLCC in Brockley, promises to continue some of the themes of 'Kaleidoscope', delivering, "a light and laconic survey of the desirable male body through the world of art and the fairytale of popular culture." A challenging, provocative artist who retains a keen sense of aesthetic beauty and a wry sense of humour, Cecile Emmanuelle Borra is one artist bound to satisfy the 'weenie counters' from the Guerilla Girls. Written by Robert Barry