Since the development of flight early in the 20th century when flying captured the collective imagination as a technological project, its potential has been firmly harnessed by patriarchy. This project engages artistic and theoretical propositions that remove flight from monopolisation by militarist domination and commercial profit. It proposes to reimagine flight from a feminist perspective, as a protective planetary capacity, and through the ‘hapticity’ of textiles, asking how we can reimagine flight away from the military-industrial complex and capitalised hardware, and why it is important to do so. Reimagining flight through materiality of textiles and fibre-based installations, this project suggests rerouting the trajectory of flight towards more intimate, embodied realms, where the liberatory qualities of flight are reclaimed through the domestic territory that reimagines flight and its technologies as an intrinsic part of the planetary eco-system that needs to be cared for, and not the frontier to be conquered. I argue that dreamworlds of flight could be channelled, through the softening, haptic qualities of thinking-through-hand-making, into empowering women to reimagine their role in relation to technologies, where instead of the automation of labour, visions of a posthuman feminist futures can be built around eco-communality and post-technological solidarity. 'Dare Mighty Things', 2022, merino wool, paracords, metal rings, water containers, 700cm x 500cm 'Dare Mighty Things' is a large-scale woollen-knitted installation inspired by the design and pattern of the Mars Rover landing parachutes used to lower the robotic explorers onto the surface of the Red Planet. Scaling the parachute form from an original 21 meters diameter to a reduced but still massive 7 meters diameter, my intention was to vest in it a domestic quality; to recreate this otherwise remote object by reimagining it with the softness and tactility of merino wool – a material more readily associated with warm, comfortable clothing rather than an object designed for the extremes of inter-planetary exploration, suggesting an alternative outlook towards the exploration of the solar system and the vastness of space. 'memory/loss', 2023-2024, merino wool and gasolina yarn, digital knitting, paracords, steel cables, 450cm x 250cm 'memory/loss' explores experiences of flight, trauma, memory and loss. It takes on the form of a large, knitted object that is suspended above the floor in the shape that is reminiscent of an upside-down weather balloon, or a giant tear drop. The knitted soft sculpture is featuring the portrait of my grandfather Alexei Shavrov, the military pilot who perished in the Stalin’s GULAG in 1940s. This work references broken blood lines and lost memories of my family members who dedicated their lives to flight and perished and memorialises the women who preserved and shared the stories of the loved ones lost to militarised flight. Drawing a parallel with today’s global militarism, this work invites the viewer to reflect on the real and the imagined phenomenology of flight, exploring freefall, floating, suspension and landing, whilst also pointing at the struggles that women, who dedicate their lives to the skies, face today. 'The Blade', 2025, tufted Axminster wool, etched aluminium, steel, 350cm x 90cm 'The Blade', a sculpted carpeted version of a Rolls Royce turbofan, has been separated from the body of the engine – the essential mechanical part that draws in the air with greatest force, to propel the turbines and the fans into action. By recreating the turbofan in hand tufted carpet, I am proposing the associations with plant- and lifeforms found in nature instead of the associations with the mechanical. The verticality of the engine and the aircraft’s purpose, the ‘intention’ of flight is removed, and the horizon is absent; there is no take off, nor landing, nor cruising at great altitude. The very essence of the engine is sublimated to the haptic experience of its organically inspired form that suggests the natural world, referencing the likeness to the hues, tones and forms of shells and flowers.