This work began with Daisy's crocheting of copper wire, a process that subverts a craft associated with blankets, comfort and women's labour. The substitution of yarn with metal makes the act slow, difficult and physically uncomfortable, producing a rigid swatch that looks like fabric but resists touch. Afterwards, Ilke extended the process through sanding and fuming with ammonia and vinegar, placing the crocheted copper into an open-ended state of erosion and decay. The piece carries scars of corrosion, embodying both fragility and transformation. In its form it recalls softness and care, yet as an object it is harsh, wounded and resistant. For Ilke, it parallels the cycles of the body—surface erosion, healing and vulnerability—while for Daisy it is about labour, repetition and discomfort. Together, the work holds a tension between domesticity and harm, comfort and repulsion, fabric and wound, making body, material and process co-authors in its becoming.