This series develops and expands upon my project Seamed, continuing its exploration of femininity, control, and overlooked craft traditions. While Seamed was grounded in the domestic space— both in theme and location —this new body of work shifts into the studio, introducing a more formal constructed environment. This transition allows for greater control over lighting, composition, and scale, while also opening up space to reflect on how ideals of beauty and femininity are constructed. The work reflects on the patriarchal structures that shape both the art world and broader visual culture. By encouraging a slower, more contemplative mode of looking, I aim to prompt reflection on what lies beyond the surface of the image—what is staged, what is concealed, and what is assumed. Drawing inspiration from the history of flower painting and the social construction of femininity, this project incorporates materials and techniques traditionally associated with “craft,” including sewing and floristry. In Entwined, I have also begun integrating drawing and painting into the constructions. These elements are embedded within carefully composed still-life scenes, photographed using a large-format camera in the studio. This setting allows for greater precision and stylisation, while reinforcing the tension between natural forms and constructed ideals. By re-evaluating these often-overlooked practices, I seek to challenge hierarchies within visual culture and to position photography, painting, and craft on equal terms. Through this approach, the work resists misrepresentation, embraces labour, and reclaims visual authorship within a space so often shaped by external expectations.