Paradoxically, the artist’s attraction to the physical qualities of craft techniques has never been one of romanticising laborious processes. Camil is more interested in the intrinsic usefulness of craft forms as cultural signifiers, with meanings rooted in both feminist and materialist histories. Massive hand dyed wall hangings, elaborate ponchos and glossy ceramic vases, suggest a theatrical staging of an interior world. These objects have been props in Camil’s live performances that experiment with the formal qualities of domestic spaces. Often presenting multiple objects within the same room, the artist is known to have rearranged objects to activate a cyclical conversation. Blurring the space between exhibition and set design, Camil leaves the spectator to conclude his or her own reading of these interactive set-ups between inanimate objects.