This work reimagines a moment of athletic precision as a political gesture, depicting an anonymous female figure poised mid-strike. The tennis ball is replaced by a voting envelope, transforming the act of play into an assertion of agency, visibility, and participation.

The figure is intentionally non-specific, embodying the collective presence of women whose contributions to sport and suffrage have often been fragmented or overlooked.

Rendered through hand-formed ceramic tiles in white and purple, the image is pixelated, shifting between clarity and abstraction depending on viewing distance. From afar, the figure emerges; up close, it dissolves into a grid of individual units.

This instability reflects the partial visibility of women’s histories and the way they are constructed through fragments.

Bridging craft and digital aesthetics, tile and pixel, the work explores how feminist narratives are continuously mediated, reconstructed, and re-seen across time.

The work also draws a connection between Wimbledon tennis and the suffragette movement, two histories that evolved in parallel during a period of profound social change for women. While Wimbledon became one of the most prestigious stages for female athletic achievement, the suffragettes fought for women's political participation and the right to vote. Both represent struggles for visibility, recognition, and equality within institutions that were traditionally dominated by men.

The use of purple and white further strengthens this connection. Purple, historically associated with the suffragette movement, symbolizes power, royalty, dignity, and justice, while white represents purity, integrity, and moral purpose. Together, these colours create a visual bridge between the traditions of Wimbledon and the ideals of the suffragettes, reinforcing the work’s themes of empowerment, participation, and women's enduring fight for representation.