Relicing
A cruciform structure mounts detached heads, limbs, synthetic hair, and patent boots as relics of a trans-femme figure that has no complete body behind it.
how the room
holds the work
In “Relicing,” a figure is assembled across a cruciform structure from detached heads, limbs, repeated wigs, patent thigh-high boots, and exposed supports. Its outstretched arms function as a display system for its own fragments, turning the visual language of martyrdom into a mechanism of exhibition. Synthetic curls move between the heads and the centre of the figure, producing a recognisable femininity without stabilising it in a single face or anatomy. Pink artificial surfaces and blue electric lights generate the aura of a devotional object while leaving the clamps, cables, and technical dependencies of that aura visible. By turning “relic” into an ongoing action, the work stages relic-making as a process of selecting, mounting, and elevating bodily signs until each fragment can carry the figure’s presence without referring back to an original, complete body.
voice from inside
first-person residue
“Relicing” presents a body distributed across a cruciform structure. Outstretched arms support two detached heads, while a third rises above the centre on a narrow support. The torso is replaced by thighs, synthetic hair, and exposed mounting hardware. Black patent boots extend the vertical axis of the figure, while blue lights descend from its arms and between its legs.
The title turns the relic into an ongoing action. Relicing describes the process through which a fragment is selected, elevated, and made to carry a presence larger than itself. Here, no single part serves as the original body. The figure exists through the arrangement of its components, each one displayed as sufficient and incomplete at the same time.
The cruciform pose invokes martyrdom and functions as an exhibition system. The arms become supports for the figure’s own heads, transforming the body into a structure for displaying its fragments. Repeated curls move across the installation, connecting distorted faces with the mass of hair covering its centre. Femininity is produced through this repetition: styled, mounted, and redistributed across surfaces that refuse anatomical coherence.
Pink artificial skin and thigh-high boots bring fetish display into the form of a devotional image. Clamps, cables, synthetic materials, and decorative lights remain visible throughout the installation. Its aura depends on technical support and electrical power. Sanctity appears as something assembled, illuminated, and maintained.
From a trans-femme position, “Relicing” addresses the pressure to present selected parts of the body as evidence of gender, authenticity, or deception. The installation takes that fragmentation as its material and reorganizes it into a private system of veneration. Each head, limb, wig, and surface becomes a relic without referring back to a complete body. The figure remains present through multiplication, held together by the same apparatus that exposes its construction.