My most recent paintings are heavily influenced by (female) gothic literature. Charlotte Perkin’s ‘The Yellow Wallpaper’ (1892), Leonora Carrington’s short stories such as ‘The Oval Lady’ (1937), and Silvina Ocampo’s gothic tales have been a catalyst for forming the narrative behind my paintings in considering the female presence within a domestic setting and ideas surrounding solitude, superstition and ritual within the everyday. Drawing upon the disciplines of still life and figurative painting I aim to consider the experience of the (female) figure within the domestic realm, the attachments that are instilled on to the banal, the sanctity that is withheld in everyday spaces. Still life set ups are made using Doll house figurines; tokens of docile femininity and a double-edged trope that at once both recognises and subverts the historic notions of gendered space. Inanimate life is considered as an emissary for those non-living, non-dead things that inhabit any house; lost objects, forgotten spaces, blurring the narrative between fictionalised play and untold biography.