Introductory except by Amber E. Kinser, Kryn Freehling-Burton & Terri Hawkes:
Endacott utilizes finer arts, a long-established feminine craft, to usher a physical representation of children and mother into the public world. The artist and her children occupy public locations with knitted dolls to challenge the notion that the maternal is only permitted in prescribed, private, domestic spaces. Not content with merely performing theses acts once, Endacott records the performances with photography that is then exhibited, thereby becoming a permanent record of resistance. This permanence directly challenges the historic impermanence of mother's acts of nurturing and reproductive labour, connecting her artistry to larger conversations in performance studies that interrogate the validity of archiving performance.