The essay offers a comparative investigation into the art of two contemporary female artists: the Hungarian Anna Nemes and the Hungarian-Belgian Kim Corbisier. Across the sensuous experiences of film, painting, photography, sculpture and performance art, their works present a striking similarity in their effort to convey a complex experience of the self, female body and identity. Anna Nemes undertook a project that involved aquarelle paintings, a documentary film The Beauty of the Beast (A szép és a szörnyeteg, 2022) and a feature film Gentle (Szelíd, 2022) presenting the incredible bodily malleability and metamorphoses of female body builders. The author proposes a close interpretation of the intermedial figurations of the “built body,” the emergence of the sculptural and the painterly, through a constant oscillation between mobility and immobility, subject and object, material and spiritual, human and non-human, beauty and monstrosity, man and woman. In comparison, through a fusion of photography, painting, drawing, video art, as well as performances as an actress, Corbisier created an artistic language of omission emphasizing presence and absence at the same time. In both Nemes’s, and Corbisier’s works facelessness, distortion, erasure, excess are recurrent features, figurative of a tormented (female) identity. Focusing also on the portrayal offered by Erika Kapronczai’s documentary on the artist, Kim (2022), the author argues that Corbisier’s intermedial experimentation with presence and absence can be seen as an attempt to sublimate the pain and melancholia that led to her addiction and ultimately, death.