To the Kalabari, the greatest tribute one can offer someone upon his death is a brass bed. Deciding that steel was the grandest material she could work, Douglas Camp welded Church Ede in steel. Church Ede has two major elements: the bed and the mourners. The body is not physically present but is indicated by a depression in the bed. The mourning women, wearing headties, lace blouses and striped wrappers, stand at either side of the bed. Their hands, energized by electric motors, fan the body with handkerchiefs while the bed shakes, symbolizing the continuance of her father’s vital force in the afterlife.

Douglas Camp painted the canvas, which was stapled to a board in her studio, while she was welding the sculpture. Although the works compliment one another, the sketch is not a preparatory image, but expresses some of the ideas that did not come through in the sculpture.