Helen McDonald stated "In Rising damp, 1995, another form of dank femininity seeps into remnants of intimate daily life when a merciless raid on the laundry basket abruptly uncovers them." McDonald states an interesting point. The actual act of going through your everyday laundry basket and taking pictures isn't a statement, but the way the underwear is shown and the use of juxtaposition clearly drives home the point. The old-fashioned underwear is presented in a well-calibrated way, which the viewer can clearly see stains of blood on some of the garments. This makes the observer sense that a statement is being made, maybe one of crude sexuality or of "dank femininity". It is clear that this arrangement and the time spent on each of the individual photographs shows her resilient feminism. McDonald goes further onto this point and articulates, "A rigorous formalism thus urges the spectator to chart the mouldy progress of abjection." This demoralized state grabs the spectator and doesn't let go. This emotion stays with you as you move through all of Brassington's work.
Moving from Rising damp onward you then come across a piece Untitled from the series 1+1=3. This piece has again numerous photographs in it except it differs much from Rising damp. In Rising damp the pattern of pictures was a neat grid-shape where all of the pictures had their place. Untitled is different it has two rows of four pictures then a single picture on the end in neither of the two rows. The flow from picture to picture doesn't tend to make sense and it seems confusing and abnormal at points. There are pictures of bodies that seem to be focused on their midsection instead of faces. This entire piece is also in black and white, which has the same effect as Rising damp, and it enhances that uncomfortable feeling. There is also an enormous Freudian sense throughout the piece. It has an abnormal sexual feeling running through it.