Last One Standing takes its inspiration from Annie's Arboretum, a living memorial planted at Batheaston near Bath between 1909 and 1912. More than sixty trees were set in the ground by prominent women's suffrage campaigners, commemorating both their activism and, for some, their imprisonment. Conifers marked those who had been jailed; hollies and other shrubs honoured fellow campaigners in the wider cause.

The arboretum was destroyed in the 1960s when the site was cleared for housing. Today, only one tree survives: an Austrian Monterey pine planted in 1909 by the suffragette Rose Lamartine Yates. Still standing in a resident's back garden, it endures as a quiet but powerful remnant of a collective struggle otherwise erased from the landscape.
Rose Lamartine Yates was closely associated with Wimbledon, a detail that extends the work's geography of memory beyond Bath and ties this surviving tree to a wider history of women's resistance, visibility and place. In this context, Last One Standing becomes both elegy and witness: a reflection on survival, disappearance, and the fragile ways political histories are carried forward.