This exhibition addresses the experience of femininity in the domestic space, and the restrictions and liberation “women’s work” has historically entailed in Western culture. The ‘Dutch Masters’ referenced in the works by Thomas, were famed for their flower paintings and domestic Still Life’s. When the genre became a predominantly female practice, it was dismissed as hobby rather than mastery. Maloney’s looks at domestic photograph albums made by women, which are continually overlooked or undervalued in the history of photography. Both artists favour traditional processes, and use analogue equipment to create their work. Thomas uses a 10x8 plate camera to capture her exquisite yet unsettling still life scenes, all of which have been arranged and photographed by the artist in her own home. Maloney’s 16mm film footage is all shot on her beloved Bolex camera, often featuring her own family photograph albums and domestic settings. The slow and considered techniques used by each of these artists, and the domestic subject matter their work addresses, honour and echo the traditional ‘crafts’ often associated with women, i.e. needlework, flower arranging or album making, yet the medium of film and photography is one usually considered to be masculine. This conflict is one that can be felt throughout this collaborative work – it is a battle between the bound and the fixed with the need for liberation and escape, with the masculine and the feminine as they confront and attempt to eclipse each other. The traditionally feminine practices explored in this exhibition of work can bind and liberate, can speak and silence, but they certainly should not be dismissed or forgotten.