“The Queen of the Night” explores the relationship between painting and tapestry. I tell narratives in my practice and tapestries traditionally depict dramas, myths and tales. Textiles are also connected to the female gender and the work touches upon domesticity, womanhood and gender identity. It started off as a painting on glass, which was then converted into a digital file to produce a jacquard tapestry using a computerised loom, and finalised by hand-embroidered details with different depths. The young girls depicted on stage are dressed as ‘Arayis El-Mouled’; traditional sugar dolls that symbolise the celebration of the birth of the Prophet in Muslim communities, and the dark blue sky expands onto the wall in a mural painting. The notion of layering in the production of the work alludes to the many layers of the past, passage of time and the process of forgetting and remembering. The initial mark making places the final piece in a collection of imagery, somewhere between the photographic, the painted and the woven. I am attracted by the materiality and the complexity of the medium of tapestry, particularly in a new age where the generation of the image and often the output too is digital; the development of a unique technique that blends both the old-world weaving processes with the newest digital possibilities. This piece therefore seeks to broaden the intersection between art, craftwork and technology by blending ancestral techniques with technological manufacture.