In Home (dis)Comforts found domestic objects perform uncanny narratives of feminist discontent. These overlooked and undervalued objects have been transformed as sculpture, activated through careful manipulation of the materiality of femininity to disrupt purpose and intention. Items of furniture alongside other feminized domestic objects perform a kind of unhomeliness that can be seen to trouble Freud’s reading of the uncanny as the return of the repressed, a contemporary feminism haunted by the unresolved past. Together these sculptural objects form an installation that addresses current concerns around the precarious concept of home, and of the persistent yet problematic alignment of femininity to domesticity. Home (dis)Comforts poses an alternate understanding of home as a place where women can create a site of resistance as well as comfort.