The main characters of this work are the lamp heads that have grown to become the symbol of representation for this line of work, in which I seek to question the repression and objectification of the female body in the domestic space, through the loss of their humanity in exchange for perspective, and merging with the environments. An environment that they have become a part of yet due to their hybrid nature do not fully fit in. The 3 supposed female bodies each sit in a different position of “comfort” or staged posing, once again highlighting the duality around the role of the female body in the domestic scene and the idea of performance. This is only enhanced in the design of the domestic space; the floors resemble that of a chess board expressing the idea of game/manipulation and paying homage to Lewis’ Carroll's 'Alice in Wonderland: Through the Looking Glass'. The room is bare except for a discoloured white/cream sofa at the back. While the window, in its attempt to be inconspicuous and almost hidden despite its bright red shutters, stands out as an outsider. It is the only visible connection to the exterior yet it is incomplete- a ghost of what it formerly stood for with a crack revealing the daunting possibilities of the exterior. My initial sketches were greatly inspired by Matisse's ‘The Piano Lesson’ and further on by Beatriz Colomina’s essay ‘Split Wall: Domestic Voyeurism, in Sexuality & Space’: “A window is a man, it stands upright” only my window is wonky, and awkward. “A sofa is often placed at the foot of a window so as to position the occupants with their backs to it, facing the room”.