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‘Still Life with Artificial Flowers’ evokes a snapshot of the artist’s mother’s front room in Birmingham. The vase depicted at its centre was a prized possession that travelled with the artist’s mother from Jamaica. Set against the warm, deep red, flocked wallpaper and atop elaborate lace doilies, the heavily patterned ‘kitsch’ aesthetic acts as a nod to ‘pop’ culture, elevating inexpensive everyday objects. The reverence afforded these items shows them as indicators of luxury and comfort, marking the front room as the best room in the house. Artificial flowers (in a glass vase) are mentioned in ‘The Front Room: Migrant Aesthetics in the Home’ (Michael McMillan and Stuart Hall, 2009) as one of the listed ‘top ten’ items found in a West Indian family front room.