The quilt serves many different purposes at once – it describes the often invisible things that go on repeatedly and constantly in a household. The 365 panels on the quilt represent a never-ending list of all the unpaid, and often unacknowledged actions that are performed at home all of the time.  At first glance it looks beautiful and ethereal but on closer inspection the low-value, low quality material of its making can be seen – throwaway tissues that are usually used to wipe up unpleasant emissions.  The stitching is hasty and the red ink on some of the words has begun to bleed.  It is a piece of work that has a light touch – a work made of baby wipes is funny, however, it also speaks of the endless, mundane tasks which happen in the home, that have to be done, and are still usually done by women.  This is ultimately a work about the hidden labour involved with making artwork and bringing up a family at the same time.  The hidden, unpaid and undervalued jobs that are persistently present whether you are at home or not.

It is also a nod to past women quilters whose artwork has gone unnoticed and unrecognised even as an art practice until recently and the art now considered ‘Femmage’ : “The works themselves were without status because the artists who made them were considered inferior by the historians who wrote about art and culture. Since the works were intimate and had no data or criticism attached to them and were often anonymous, how could these writers identify them as valid, mainstream history?” (Schapiro and Meyer, 1977, p.69).