As a material that’s largely been employed within a craft arts tradition, what dialogues have you encountered when bringing hair into the traditional gallery space? The action and gesture of braiding was the main connection I found at that time with craft art—it was almost like weaving, making knots. With hair, the thing is that the same gesture completed by another material would have a use, a practical function further that the aesthetic one. Furthermore, it would be considered a highly regarded craft, but as far as I know, hairdressers have not been yet properly recognized as such. The main exercise for me was to treat hair extensions as any other material with which I could create a pattern, a structure, a form, a shape, like I could do with ropes or fabric. I was obsessed with learning different techniques for intimate gestures of care and proximity.
I discovered Adolf Loos´s lecture-essay “Ornament and Crime”. And this text was the beginning of my interest in the conceptual debate between ornament and structure. It became an iconic text in architecture and constituted a radical approach by advocating for the abolition of ornament. His repulsion towards adornment was not aesthetic but cultural, representing his “opposition to waste, the ephemeral and the frivolous.” It was a moment of transition away from an artisanal to an industrial mode of production, the industrial revolution. He argued that the progress of culture was associated with the removal of ornaments from everyday objects and it was “a crime to force craftsmen or builders to waste their time in ornamentation.” He asserted that the ornament was not something that naturally emanates from objects, but that it was something artificially attached that can thus be dispensed with.