In this way, Fowler questions the place of women in this industry, often reduced to objects of desire or trophies. The imposing size of her works, highlights the intense emotions that emanate from them. Jean Peters thus becomes the symbol of a Hollywood culture that Nina Mae Fowler counters, revealing the excessive pressure and expectations placed on actresses.

With the Love Mass series, Nina Mae Fowler continues her exploration of female cinema figures, this time through in-depth archival work on Marlene Dietrich. Far from the sophisticated and distant image shaped by Hollywood, the drawings in the Love Mass series depict a maternal and vulnerable woman. Inspired by these archival documents, Nina Mae Fowler proposes a more human and emotional reading of the celebrity, going beyond the simple media gaze.

The sculptures in this series complement this narrative, transforming emotions and memories into tangible objects. By associating these works with extracts from the letters exchanged between Marlene and Michael, the artist gives voice to the feelings expressed in these correspondences, adding a poignant dimension to her work.

Through these two series, Nina Mae Fowler highlights the ambivalence of this industry, both fascinating and oppressive, and reveals the pressures exerted on these women by the male gaze and societal expectations. With A Little Piece and Love Mass, Nina Mae Fowler invites us to look beyond the myth and rediscover these women in all their humanity.

These two series were shown in a solo exhibition at Suzanne Tarasieve Gallery in Paris in 2023. More recently, the gallery presented other of her works at Drawing Now Art Air dedicated to contemporary drawings.