Many of Frieda Toranzo Jaeger’s works take the triptych format, employed by artists over many centuries to represent religious devotion. The triptych altarpiece allowed for multiple views and in the case of smaller works, the option to transport them while travelling. Jaeger thus inserts her work into a long-standing tradition of essentially male art. Many of her works investigate car interiors, traditionally viewed as a masculine domain. Driving is associated typically with male control while the celebrated novelist J G Ballard remarked that were he to condense the twentieth century onto one image it would be of a man driving along a concrete highway to an unknown destination. Jaeger takes these interiors and regenders them as feminine, combining the tools of male gestural abstraction with the longstanding art of embroidery traditionally carried out by women. The cars are always of the future; driverless, electric, and without people. They become emblems of passivity and suggest, perhaps, a loss of agency.