Among the loud crowds and clamour, Edey’s works Thin Places sing in a different key, her soft surrealism drawing in you in gently, abstract, sensuous forms sketched in soft pastel on sanded paper and beaded tapestries, framed in exquisite sapele panel frames that recall Edwardian furniture. Some of the works recall Beyte Saar’s windows, encasing luxurious, fantastical elements in their sculptural structures – glass beads, silk, organza, freshwater pearl and white jade – all hinting at mysticism, at the convergence of bodies with objects and space, the blurring of the perception of exterior and interior.

Edey’s new works have come a long way from her earlier, more illustrative work, figurative tapestries and drawings. “The presentation at Frieze is the most ambitious show to date. It takes the form of a domestic interior, with the threshold marked by soft carpeting and two stained glass windows in a nod to the codes of the imagery of nineteenth century literary interior space. I’m excited to see what everybody thinks, as there is a big shift in scale and ambition of the works.”

While recent exhibitions have introduced daring new elements in other dimensions – a recent show at Anat Egbi in Los Angeles included a re-upholstered Edwardian two-way conversation chair, Edey explains that “drawing is at the core of my practice: each of the tapestries exists as a pastel drawing before being translated on a jacquard loom and hand beaded with glass beads, freshwater pearls and semi-precious stones. The language of embroidery follows the pattern of mark-making of drawing, with dots and dashes building the form and I’m really excited about presenting them together to blur this material distinction.”

Freddie Powell, founder of Ginny on Frederick, is Edey’s champion for The Wick. Powell put on an exhibition of Edey’s work last year, and the Frieze show is an exciting step for both of them. “Charlotte and I have been friends for nearly a decade, and it feels like we have sort of grown up into the art-world together which is an incredibly unique and special relationship. I think the work she is currently making, the works we are showing at Frieze, manage to be poetic and introspective but still incredibly urgent – something not a lot of artists can do smoothly. I’m also lucky enough to get to raid her bookshelves regularly, as she has the best library, recently introducing me to the world of late 1970’s Italian literature.”

Lately, books Edey has been turning to include “the work of symbolist architects John Hejduk and Charles Jencks, the metaphysical writings of Italo Calvino and Gaston Bachelard and the writer Jennifer Higgie”, guided by a abiding interest in “exploring selfhood through the disembodying of subjects, examining the shifting historical, spiritual and environmental realms that shape and inform the plurality of identity.” Edey’s visual assimilation of these ideas unfolds in Thin Places, with a hint of magic realism, where “interior and exterior worlds as permeable, with no clear delineation between bodies and minds, selves and others, objects and sites.”