In “Knot Knot,” Foster visually delves into the southern roots of her family. Her rural past is represented by rope woven to make tapestries and murals, and burned wood in the shapes of human heads represents the idea of burning in effigy. By making a large crowd of burned effigy sculptures and mirror prints of these effigies, Foster conveys the word of mouth history, a family history that includes slavery. Her process concerns taking utility away from objects meant for work, for example, taking away the usefulness of rope and wood by unraveling or burning the materials.
Foster, who is from Gastonia, North Carolina, is majoring in visual arts. She came to Princeton with in interest in pursuing the visual arts in some form. She originally intended to major in architecture, then moved to art history, and then to the Program in Visual Arts with an interest in creating original work. She notes that the courses African American Literature with Kinohi Nishikawa, Art and Politics in Colonial South Africa with Chika Okeke-Agulu, History of African American Art with Anna Arabindan Kesson, and Extraordinary Processes with Joe Scanlan and Sigrid Adriaenssens have influenced her work as an artist on this project. The last course particularly inspired her creative work, as it explored new uses in sculpture and structural engineering for ash wood, a resource that suddenly became plentiful due to the destruction of these trees by insects in the U.S.