In "Self-Portrait" (1938) Carrington offers her own interpretation of female sexuality by looking toward her own sexual reality rather than theorizing on the subject, as was custom by other Surrealists in the movement. Carrington's move away from the characterization of female sexuality subverted the traditional male role of the Surrealist movement. "Self-Portrait" (1937–38) also offers insight into Carrington's interest in the "alchemical transformation of matter and her response to the Surrealist cult of desire as a source of creative inspiration." "Self Portrait" further explores the duality that comes with being a woman. This concept of duality is explored by Carrington using a mirror to assert duality of the self and the self being an observer with being observed. The hyena depicted in "Self-Portrait" (1937–38) joins both male and female into a whole, metaphoric of the worlds of the night and the dream. The symbol of the hyena is present in many of Carrington's later works, including "La Debutante" in her book of short stories "The Oval Lady".