Social Skin (Triptych) investigates the body as a constructed surface shaped by systems of visibility, control, and expectation.
In contrast to State of Suspension, where the body appears subjected to pressure and transformation, this work presents a frontal, declarative presence. The figure does not withdraw or dissolve, but stands exposed—almost monumental—within a neutral, undefined space.
Intimate, everyday garments are reassembled into a dense structure that operates both as extension and constraint. These elements form a second skin: protective yet restrictive, familiar yet estranged. The body becomes a site where personal identity intersects with external frameworks, revealing how surfaces are not only worn, but imposed and negotiated.
The triptych unfolds through subtle shifts in gaze and posture, moving from tension to confrontation and finally to a state of quiet instability. Rather than narrating a linear sequence, the images function as a constellation of conditions, in which the body oscillates between autonomy and submission.
Positioned alongside State of Suspension, this work expands the investigation from an internal condition of pressure to an externalized system of structure. Together, the two series reflect on how the body is continuously shaped—both from within and from the forces that surround it.
The work is conceived as a photographic triptych with a variable scale, adaptable to different exhibition contexts. It can be presented in formats ranging from intimate, small-scale prints to large-scale installations, where the physical presence of the images becomes more immersive and spatial.
The body becomes surface, system, and statement.
