In her mind they become a model, something that she can imitate and capture on paper or with clay: "Gudrun watched them closely, with objective curiosity. She saw each one as a complete figure, like a character in a book, or a subject in a picture, or a marionette in a theater, a finished creation". This last statement reflects Gudrun's point of view. It clearly portrays her broad sense of knowledge. Gudrun is able to "know" and categorize people at face value it seems. Further, once she has decided she has them figured them out, they lack any further potential for her; therefore, they become neatly put away in her mind. Certainly, Gudrun thrives on consuming knowledge. Moreover, she lusts for power and control. We even learn this through her art, as we watch her carve tiny figures that fit in the palm of her hand. In addition, Ursula mentions that Gudrun enjoys looking at things through the wrong end of the opera glass, causing them to appear smaller than they actually are. Conceivably this contributes to Gudrun's desire for power, as smaller things are much easier to control. During the wedding, it seems that Gerald Crich has become victim to Gudrun's powerful consumption as he is "unknown" to Gudrun. Indeed, this probes Gudrun to uncover Gerald's hidden secrets, and harness his power.
Gudrun's growing relationship with Gerald Crich brings us to discuss another example of bonding that occurs between Gudrun and Gerald's younger sister, Winifred. Winifred, the dearly loved "pet" of the wealthy collier Thomas Crich is indeed a detached and demonic child. According to the wish of the dying Thomas Crich, Gudrun becomes Winifred's instructor. She eventually moves into a studio especially built for Winifred and herself. Very much like Gudrun, Winifred only pays attention to people who are worth her while. .
Comparable to Gudrun, and her carved figures Winifred obtains a feeling of power over those beings that are physically smaller than her.
