Traces of Support

The selection of works revolves around hair as a relic of the body - a material that is intimate, already detached, and continuously produced. Hair operates here as a medium: an extension of the self that moves outward into surfaces, images, and structures. It belongs to the body and no longer belongs to it. It carries memory without intention. Across the works, hair is organized through forms associated with folklore, ornament, and craft, as well as through minimal, functional knots such as the single perfection loop or the handcuff knot, connecting two strands of hair from different bodies. These knotting systems point to shared, learned techniques rather than personal expression. They are precise, patient, and difficult to execute, especially at a scale that resists direct perception. Some works lean toward ornamental composition and repetition, while others isolate a single knot within the image. In one instance, the physical material appears alongside its photographic counterpart, opening a question of what memory is. Object and image exist in parallel, subtly destabilizing each other rather than resolving into an origin. The works suggest a disaster with some form of holding it together. Is it really rescuing anything? It’s just trying to. What is held is not a center, but a surface - skin, pattern, structure - sustained through tradition and repetition. These hair works do not form a single linear project, but operate as part of an ongoing practice in which separate bodies of work remain in conversation, overlap, and align.