HAARmonie

HAAR (monie) depicts an encounter between a girl covered in hair and an alluring, almost fairy-like hand. Though seemingly gentle and seductive, the hand does not truly desire the girl herself; instead, it is drawn to the puppy costume on her body—an external shell onto which desire is projected, imbued with cuteness and assumed availability. When the hand attempts to take the puppy away from her, the girl realizes that she is not seen as a subject, but merely as a vessel leading toward the object of desire. In response, her hair begins to grow uncontrollably, eventually engulfing her body. The hair functions both as defense and exposure, pointing to the body’s most intimate and vulnerable parts, and embodying a contradictory state of longing for closeness while fearing genuine touch. As the hair is finally flushed down the drain, what remains is not release but emptiness. HAAR (monie) focuses on the void left after intimacy without love or consent. Rather than denying vulnerability, the work seeks to make space for fragility and insufficiency, allowing the presence of moments in which one is not wanted or desired.