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A recurring theme in Mutu's work is most evidently her use of form and body to depict femininity. Mutu uses the feminine figure in her art even when the forms were more or less unrecognizable, whether by the form itself or the texture and patterns used as building blocks for the form. She uses otherworldly depictions of women in various states, many times even in sexual or sensual in nature, to bring about discussion of the objectification of women. Her various ways of representing feminine qualities, whether through delicate lined patterns or familiar feminine builds, does not outshine the strength of the images or the significance of the issues presented. Her use of "grotesque" textures in her work, for example, might help woman to accept their own flaws. Creating a feminine figure that also depicts such "gross" or otherworldly imagery may help woman to step away from perfection as it is presented in society and instead embrace their own imperfections and become more accepting of others flaws as well.

A recurring theme in Mutu's work is her various depictions of femininity. Mutu uses the feminine subject in her art, even when the figures are more or less unrecognizable, whether by using the form itself or the texture and patterns the figure is made from. She uses otherworldly depictions of women in various states, many times even sexual or sensual in nature, to bring about discussion of the objectification of women. Mutu creates solitary feminine figures, independent in nature, and even when the figures are not the only thing depicted, they stand alone and capture the audience's attention. Her various ways of representing feminine qualities, whether through delicate lined patterns or familiar feminine builds only enhance the strength of the images or the significance of the issues presented. It's been said that Mutu's use of such intentionally repulsive or otherworldly imagery may help woman to step away from perfection as it is presented in society and instead embrace their own imperfections and become more accepting of others flaws as well. Mutu frequently uses "grotesque" textures in her artwork and has cited her mother's medical books on tropical diseases as an inspiration, stating that there is "nothing more insanely visually interesting and repulsive than a body infected with tropical disease; these are diseases that grow and fester and become larger than the being that they have infected, almost."

A recurring theme of Mutu's work is her various depictions of femininity. Mutu uses the feminine subject in her art, even when the figures are more or less unrecognizable, whether by using the form itself or the texture and patterns the figure is made from. Her use of otherworldly depictions for women, many times shown in a seemingly sexual or sensual pose, brings about discussion of the objectification of women. Specifically, Mutu adresses the hyper-objectification of black female bodies and has used an otherworldly nature to reitterate the ficticious black woman depicted in society. Whether through delicate lined patterns or familiar feminine builds, Mutu's various ways of representing feminine qualities is said to enhance the strength of the images or the significance of the issues presented. Many of Mutu's artworks are known to be interpreted in contradictory ways, both seen as complicit to problematic society and as hopeful for future change in society. It's also been said that Mutu's use of such intentionally repulsive or otherworldly imagery may help woman to step away from perfection as it is presented in society and instead embrace their own imperfections and become more accepting of others flaws as well. Mutu frequently uses "grotesque" textures in her artwork and has cited her mother's medical books on tropical diseases as an inspiration, stating that there is "nothing more insanely visually interesting and repulsive than a body infected with tropical disease; these are diseases that grow and fester and become larger than the being that they have infected, almost."

Girls Not Brides works alongside governments to develop, implement, and monitor strategies to end child marriage nationwide. Sharing information to better combat child marriage and raising public awareness of child marriage are the main goals of the national partnerships they have with Bangladesh, Ghana, Mozambique, the Netherlands, Nepal, Uganda, the United Kingdom and the United States. In their goal of working towards ending child marriage, Girls Not Brides intends to work alongside and facilitate other organizations working towards the same goal. Ways they intend to combat child marriage are focused on information sharing through discussion and raising awareness in communities on any level (whether local, national, or international)

Goals and strategies
Girls Not Brides focused their 2017-2020 goals and strategies into six categories: Government, Global, Community, Funding, Learning, and Partnership.

Government goals have adjusted from promoting national progress to making sure high-prevalence countries are comprehensively undertaking child marriage. Girls Not Brides has also shifted their global goals from securing commitments to address child marriage into ensuring the implementation of those commitments are supported by international and regional institutions. Community goals for Girls Not Brides centers around the importance of community-led approaches and the impact of community-based organizations. Girls Not Brides goals for funding intends to highlight dedicated resources in budgets and ensure an increase for community-based organizations. Girls Not Brides final goal focuses on learning and research for child marriage and the effects of it, sharing the information, and ensuring it is received and used in decision-making.