The exhibition is centred on the mouths of 50 women who were murdered by their partners, which are sculpted out of bars of soap and mounted at eye-level on an
Like many artists who make art their career later in life, Walters has used her art to reflect on her history and to heal herself. She is passionate about ensuring that the stories of victims of femicide who were silenced and marginalised in life and through their unnatural deaths are brought to the forefront of public consciousness; that nobody is left immune.
The exhibition cuts across race, class, sexual orientation, age and marital status. It includes famous women like Reeva Steenkamp, but also unknown women whose deaths remained unnoticed and undocumented. Miller sees this as a very powerful symbol of domestic abuse. Only the springs of the bed, the bare bones, remain, and the rust is deposited on a sheet that she has placed beneath it.
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