Taking this into consideration, women, in general feel extreme guilt towards their fatness because it can be said that being thin is not an aesthetic, but rather a pressure from communities suggested that their bodies are owned by society. I think Naomi Wolf put it perfectly in her book The Beauty Myth especially in the chapter Hunger where she writes: ‘A cultural fixation on female thinness is not an obsession about the female beauty but an obsession about female obedience’ (Wolf, 1991). It is my opinion that she means womankind’s outdated and sexist role of their existence was to please a man and perhaps more relevantly, society in general. I think the proof that the female thinness obsession is political stems from one thing: guilt. How can female fat be a moral issue and be described by words like good and bad? I would argue that fat is more of a feeling rather than an adjective of physical form. If society’s fixation on women’s body types were about sex it would be privately combatted between her and her lovers; if it were about health, between a woman and herself. Instead, I would dispute that the concept of female fatness is no more than a marketing strategy. To relate this theory to Jenny Saville and her artworks like Branded, I believe her almost utilitarian artistic response recognises this theory and has reached out to spectators by saying she understands them through the medium of painting. She has given us as viewers these unusual, unconventional female figures, a body to relate to, to tackle their responses and to deal with the problems raised with.I also believe that this theory of societal guilt imposed on women opens an opportunity to individually discuss a Marxists reading on Saville’s artworks in the way that, Saville’s response to this is to create subjects that tackle criticism based on socialist and dialectic theories with the idea that there is a mixed representation of the truth fed to the spectator by people of power. I think Jenny Saville’s response gives the power back to the spectators by challenging these theories and allowing spectators to become part of the artwork by way of completion. Considering this, it can be suggested that her art is no longer reflective of society, but rather an offering of an alternative way of dealing with these problematic themes.