Hair features heavily in your work. What draws you to working with it? I’ve always been fascinated with various underground belief systems, from Ufology to Cryptozoology. It’s not so much that I believe in them, more of a fascination with the social and psychological systems of belief which underpin them. I wanted to create something that was alien and mysterious. But as I worked on it further I discovered that it wasn’t just the paranormal stories I was interested in, it was the fear that comes with the mystery of the unknown and the other. The use of hair was a response to that. It represents for me the feeling of anxiety, that mysterious thing lurking behind the curtain, a veil hiding something sinister. I’m also interested in the fact that when hair is detached from the body it becomes something else, it is uncanny, conflated with the familiar; an example would be the uncertainty as to whether an unconscious person is alive, and conversely whether a doll or robot is truly non-sentient.
How relevant is the colour of the hair? The default setting for me personally is the colour black; I’m always drawn to it. It’s the absence of light that black has, it draws you in like a black hole. The use of black hair from Japanese horror films to the shiny black obelisk in the classic sci-fi movie ‘2001: Space Odyssey’ has been a huge influence too. But I have always been scared of colour, if I do use it I try not to attach meaning to it.