Signifying the feminine with its delicate construction, Joana Vasconcelos’s 600 x 350 x 350 centimetre chandelier installation A Novia (The Bride), (2001) has instant appeal. Chandeliers are understood in Western society as large statements of glamour and sophistication. Vasconcelos’ chandelier engages the viewer with its gargantuan scale and draws them in to reveal the detailed construction is comprised of 25,000 tampons. Tampons en masse have changed the context about menstrual products in art practices. In contrast to Chicago’s Menstruation Bathroom, (1971) which includes the semiotics of blood. Vasconcelos constructs something beautiful out of an object from material culture that is associated with the abject. The repetition of tampons conceptualises the notions of consumerism and control of women’s bodies. Through repetition Vasconcelos achieves abstraction of these ideas so that the message is implicit.