Player 5 (The Large Bather) by Katie Tomlinson is an oil on panel painting that reinterprets Renoir’s The Large Bathers (The Nymphs) and is inspired by Cézanne’s The Large Bathers. Tomlinson engages with Cézanne's departure from eroticised portrayals of women, questioning whether this can be achieved simply by the rendering of the figure.

In this piece, Tomlinson depicts the electric and moray eels as symbolic marine creatures. These eels have their mouths constantly open to filter oxygen, giving an impression of aggressivity, also, they electrocute or hold on to their prey with their teeth. This ties into a commentary on consumption, as the artist uses an x-ray of her own teeth as a nod to physically consuming bodies, referencing electrocution by the eel and also appropriation in art and the idea of consumption itself.

This work also references queer representation, linking the electric eel to villains like the two eels in The Little Mermaid, often reflective of queerness in popular culture. The painting continues a process of appropriation, drawing on Alison Katz's series, which is based on a André Derain woodcut, creating a dialogue about the history of painting and how artists “consume” one another's work.