These works mark a period in my practice when I began working with domestic objects. Through printmaking, painting, wallpaper and textiles, I explored how lived experience could be held within materials rather than represented directly.

Repetition, deterioration and traces of making became ways of registering time, change and the accumulation of experience.

Private Histories explores the domestic object as a site of memory, concealment and personal history. I transformed the interior of my grandfather’s wardrobe with a wallpaper design created through screen printing.

The work marked a shift in my practice towards using objects and domestic spaces to explore how experience could be held through material, process and transformation.

The Nursing Chair continues this exploration of domestic objects and the ways personal histories can become embedded within materials. At its centre is my own nursing chair, an object associated with care, intimacy and motherhood.

The work began as a screen print, created through repeated printing over the same image. As the screen deteriorated, the image became increasingly fragmented. Rather than correcting this deterioration, I embraced it as part of the process and digitally transformed the resulting print into a repeating textile design, which was produced as velvet fabric for the chair.

The handmade vitrine became the central structure of this installation, containing and framing the work.

I painted and wallpapered its surface. The wallpapering introduced bubbles, tears and imperfections, which I chose to retain rather than correct. These traces of making became part of the finished surface, allowing the process to remain visible within the installation.

The vitrine operates both as a domestic object and as a structure of containment, introducing another layer to my interest in what is preserved, concealed and held within domestic spaces.