This work embraces the complex relationship between femininity and domestic space revealing it to be constrictive and imprisoning. The authorship of looking has historically been masculine. Reflecting on the often-patriarchal systems that govern not only the art world, but also the visual world, I want to re-look at the traditionally feminine and domes- tic based practices, ‘crafts’. Historically the art world has overlooked craft skills, particularly those produced by women whose works were often seen as inferior. ​ My work is influenced by crafts such as sewing and floristry but also takes inspiration from another overlooked art form, Still Life paintings. In the hierarchy of art genres established in the seventeenth century by the French Academy, Still Life was ranked at the bottom, the noblest form his- tory painting at the top, then portraiture, genre painting, and landscape. Still life and landscape were considered lowly because they did not involve human subject matter. This ranking was based upon ancient literary parallels and formed the basis of academic teaching across Europe. Women were excluded from Art Schools and barred from life drawing classes, flower paintings and domestic Still Life painted by women were often dismissed as hobby rather than mastery. ​ In my own works I carefully construct still life scenes: flowers and foliage are sewn, tied, bound and suspended into position before the camera. This controlled method is integral to the resultant pictures, using a large format 8x10 camera to capture the fabricated scenes. I carefully control each step of the photographic process myself, from constructing the scene to developing the sheet film, and hand printing the final image in the darkroom.