The selection of work produced under the title, Muffled Violations (2022) offers a poetic account of the trauma endured from memories of rape, that the artist intimately embeds into the fabric of used and found objects such as duvets, chairs and worn pantyhose through bodily engagements with the objects.

The works presents viewers with the opportunity to encounter the affects of sexual trauma experienced by the artist, so they may potentially empathise with victims of rape. When pantyhose is worn it sits on the body and is stretched over the curvature of skin. Hosiery soaks up sweat, can be stained with discharge and retains these smells. Even pubic hair weaves itself into its threads. When whole, pantyhose takes on human form and becomes a vessel that cups genitalia. The textile is meant to protect skin but remains susceptible to penetrative tears and cuts.

Peffer's use of pantyhose references a childhood street game she played growing up, based on boundaries and to her interpretation, the issue of consent. Peffer intends to reconfigure representations and perceptions of sexual violence through the transformation of found objects by means of sculptural assemblage and video works.

The artist’s work can be interpreted as a quiet form of protest, an attempt to call out her rapist and give her experience new meaning, so healing may occur. The work aims to bring alternative narratives of rape that often go undocumented to the forefront, as to position these voices within a South African context of pervasive sexual and gender-based violence.