Throughout my practice I use symbols that represent the relationship between women and craft, creating a history of meanings within the tapestry. I weave together traditionally feminine elements like the flowers and curved lines, while exploring and respecting the historic similarities with the Arabic designs of the cornucopias; the elements and colours of the Portuguese tiles; and keeping the layout of the traditional “Arraiolos”.

The grandmothers of our time are the ones who hold and store these histories and works of art in their small living rooms. By making the craft into a frame I'm using it as a method of communication, I'm using it to bring attention to what's inside, thus, valuing both the frame, and its contents, in the process.. By re-evaluating the position of craft and where it stands, I'm bringing to light important topics that connect with the devaluation of women in society more broadly. Topics like violence against women.

The subject matter I selected to be the “King”, in this case, was the murder of Sarah Everard and the painful and necessary discourse it raised around violence against women and sexual harassment. These images were taken in the aftermath of the vigil in Clapham Common. They show a strong and quiet scene that tells the story of this woman, and many women. Intense yet very respectful during the day, this sits at odds with the violent reaction of the police to vigil attendees later that evening. I wanted to give the scene the feeling of the still life painting that delivers a punch of meaning behind it.