In The Scale of Justice (2016), for instance, the artist becomes a traditional ‘beam scale’, balancing hanging baskets from her arms and feet. Against the jewel-coloured backdrop of sapphire pink, the baskets fill up and overflow with luscious green veg while we watch as her balance and composure are increasingly tested, her corporeal and psychological limits measured. Vatanajyankur’s self-deprecating humour is also seductive. In Egg Holder (2016) she even invites her face to be egged. Aiming to catch them in her mouth in this ill-fated feat, her yoke-covered face is displayed over half a dozen screens.