Countercountermouth depicts a zoomed in image of a monkey’s face suspended in a moment of screaming agony. Knowland’s practice critically engages with patriarchal social structures, by referencing historical visual cultures of the witch and linking such stereotypes to contemporary cinema. She expands on the misogynistic socio-political position of the woman as witch depicted throughout history, by drawing on animals found in conjunction with the witch and depicts how such stereo-types are still visible in today's society, often referencing contemporary visual cultures such as filmic scenes. The lexicon of images from which Knowland chooses from are found in The Caliban and the Witch by feminist and critical theorist Silvia Federici, whose book critically engages with the rise of capitalism and consequently women's oppression within society in relation to the witch. Amongst other situations, women deemed as witches were often accused of bestiality or having specific animals as dangerous, spiritual accomplices, such as the depicted monkey. The work references false historical misogynistic accusations made in regards to ‘female hysteria’; the monkey’s hysterical expression therefore starkly exaggerated and pushed to its limits. The idea of the monkey interlinked with the witch is deeply embedded in today’s visual cultures - a prime example of this being the flying monkey that accompanies the witch in The Wizard of Oz.