Holding Tissue — Front view (2026)
Suspended installation. Cheesecloth, hand-applied dimensional paint, red thread.
Holding Tissue - Side view (2026)
Three suspended layers of cheesecloth, revealing the layered structure.
Holding Tissue — Detail (2026)
Dimensional paint on cheesecloth. Layer 1 with layer 2 visible behind.
Holding Tissue — Detail (2026)
Dimensional paint on cheesecloth. Layer 2.
Holding Tissue — Detail (2026)
Cheesecloth with hand-applied antique wooden stamps in acrylic paint and partial rupture. Layer 3.
CONCEPTUAL note
Three suspended layers of cheesecloth, each one carrying a different register of the same system. On the first layer, SMILE appears in red dimensional paint — the cosmetic command, the face the system shows outward. On the second, KEEP GOING in black — the operational directive, less visible than SMILE but persistent. On the third, hand-applied stamps from an antique wooden set scatter fragments of letters that never form complete language. The fabric of the third layer is partially torn.
The three layers are made of the same material. What is held is not the body but the tissue of the system itself, human in all cases, but sustained unequally across positions. The system does not collapse. Only the third layer tears — not because its material is different, but because its position within the structure allows no possibility of stopping.
From the front, SMILE dominates; the operational voice appears as a shadow behind it; the residual layer is nearly invisible. From the side, the layered structure becomes apparent. The cost is present but requires effort to see.
Held together by a horizontal metal spine and lengths of black wool declared as visible structure, the work uses gravity, tension, and material asymmetry as primary artistic languages. It stages continuity that offers no possibility of pause. The tissue is common. The positions within it and the options are not.