This collaborative exhibition is a culmination of the experimental photographic and moving image work of Thomas & Maloney. It responds in part to the artists’ joint interest in Charlotte Perkins Gilman’s ‘The Yellow Wallpaper’ (1890). This gothic tale recounts the experience of a woman struggling with her mental health after being locked away in a attic room following the birth of her child. In the confines of the room she begins to unravel psychologically, becoming obsessed with the idea of another woman trapped and creeping within the layers of the paper. These ideas of ‘creeping’ and layers, and of a claustrophobic repetition in a suffocating domestic space, will resonate with many in the aftermath of the pandemic. During successive lockdowns, everyone had to adapt how they worked, lived, socialised, and related to each other – it was a time when in one way or another everyone had to face their demons. It became almost impossible to make work, without access to darkrooms and other facilities, yet the pandemic forced them to be more introspective, to push boundaries and adapt their working methods. This work is both an exorcism and a celebration of the lockdown experience, reflecting upon multilayer narratives, such as the domestic space, mental health, and women as ghosts in the history of art. Thomas used both 5x4 and 10x8 large format plate cameras to capture her images, and then each stage of the photographic process is undertaken by the artist: the sheet film is developed by hand, and the final pictures are hand-printed in the darkroom. Thomas used a light sensitive liquid emulsion to coat different surfaces such as glass, card, watercolour paper, as well as searching second hand shops for old frames and paintings. Thomas then removed the glass from the frames and coated them in the light sensitive liquid emulsion. She would then print her own images onto the glass in the darkroom using her large format negatives. When Thomas reassembled the frames and paintings with her images printed onto the glass, a layering occurs which gives the final pieces a haunted and eerie effect. The portraits are then trapped on the surface of the glass never quite reaching the landscapes within the paintings.