This reinterpretation of the myth of genesis from a female point of view, not only gives power to the female, but also affirms woman as ‘the creator’; exemplifying how woman and the natural world are intrinsically interwoven. As mentioned, the all-female, collaborative aspect to Chicago’s collection of 84 textile tapestries celebrates these feminate themes of craft, and motherhood (Dickson,2012,p81). Working with needlework and embroidery, materials historically rebuffed by men as ‘women’s crafts, Chicago liberates the female, paying tribute to unsung heroines.  Within this embroidered piece specifically, a direct connection to botany and womanhood can be identified through Chicago’s golden light emitted from a ‘flowering vagina’. In this sense her symbolism is not dissimilar to O’Keeffe. Yet Chicago takes ecofeminist theory one step further; not only is this innate relationship identified, but Chicago indirectly confronts notions of patriarchal social politics by embellishing the vulva with a regal crown. Here, Chicago rejects traditionalist beliefs that the degradation of nature coincides with the oppression of women. She instead sheds a literal ‘golden light’(Dickson,2012,p84) on what was considered a shameful process resulting from a sinful deed, presenting birth as noble, divine and most importantly, ‘natural’.