Open wounds, closed loops trace the unstable terrain of queerness, grief, depersonalization, and the body as both site and surface. Through layered practices, we navigate how identity is dissolved, distorted, or memorialized under pressure. This is a holding space—for fragmentation, for presence, and for what remains when form is no longer fixed.

 

Bodies, both figurative and abstract, lie in disarray, reduced and relegated to corporeal forms. As tensions of political and intimate pasts and present, works presented in Open wounds, closed loops allegorise the fractures queer individuals experience, from citizenship, from familial ties, from queer kinships, and disengagement from state narratives. The body, also imagined as terrains and topographical landscapes, becomes a site for survey. 

 

In Philip’s work, the absent body becomes both the subject and the wound—a solitary performance for no one, or perhaps for an imagined other. The works gesture toward the unseen, the erased, and the silenced. The absence of the queer body is felt, inherently queering the space itself. In Moses’ work, the body collapses as an allusion to the depersonalization one undergoes with increasing state control. These allusions vary in different acts, from sculptural speculation to performative asphyxiations.