Combining her workshop observations with the offcuts, she transformed the otherwise wasted remnants into ambiguous sculptural forms, each showcasing a different offcut type. She employed processes of cutting, layering, piecing, stitching, draping and gathering to manipulate or enhance the innate shapes, forms and properties presented by the offcuts. She used stitch as her primary method of construction and mark-making as she joined the fragmented materials and highlighted the negative space within the offcuts. Blue, red and yellow threads were used to reference the industrial colours within the Freed workshop. The expanded forms which emerge from the suspended pieces are designed to encourage questioning of materials and processes and a reassessment of consumption.