Two clip-in synthetic dreadlock accessories, assembled by Chains from liquidation wig stock and found materials. Each piece is individually adorned and tagged. Sold as a paired edition.
Category: Editions
File Under: #PoserDreads #CrustPunk, #HairAsObject, #FoundMaterials
Description
Two individual sets of detachable dreadlocks, built from synthetic hair sourced from a Hamilton wig and hair supply store during liquidation. The material—manufactured to imitate permanence—is reconfigured here as something temporary, wearable, and easily undone.
Each cluster can be clipped into hair, pinned onto a hat, or attached to clothing. The mechanism allows for transformation without commitment: a visual language borrowed from crust punk and DIY subculture, stripped of permanence and reintroduced as an object that can circulate freely.
The first piece is finished with a bright pink bow found on the sidewalk, cleaned and stitched into place. It is further adorned with a small pom-pom creature and a hand-stamped aluminum heart tag reading “chains DIY or die.” The bow carries visible wear, treated as evidence rather than flaw.
The second piece uses a white satin bow salvaged from a wedding ring pillow belonging to the artist’s sister, now divorced. It is paired with a found faceted plastic prism—likely once ornamental—and a stamped aluminum tag reading “Chains against standardized life & death.”
Together, the pair stages a quiet collision between romance, refusal, sentimentality, and collapse. Wedding ritual, sidewalk debris, punk aesthetics, and synthetic hair are held in equal regard. Nothing is elevated; nothing is discarded.
Two clip-in synthetic dreadlock accessories, assembled by Chains from liquidation wig stock and found materials. Each piece is individually adorned and tagged. Sold as a paired edition.
Category: Editions
File Under: #PoserDreads #CrustPunk, #HairAsObject, #FoundMaterials
Description
Two individual sets of detachable dreadlocks, built from synthetic hair sourced from a Hamilton wig and hair supply store during liquidation. The material—manufactured to imitate permanence—is reconfigured here as something temporary, wearable, and easily undone.
Each cluster can be clipped into hair, pinned onto a hat, or attached to clothing. The mechanism allows for transformation without commitment: a visual language borrowed from crust punk and DIY subculture, stripped of permanence and reintroduced as an object that can circulate freely.
The first piece is finished with a bright pink bow found on the sidewalk, cleaned and stitched into place. It is further adorned with a small pom-pom creature and a hand-stamped aluminum heart tag reading “chains DIY or die.” The bow carries visible wear, treated as evidence rather than flaw.
The second piece uses a white satin bow salvaged from a wedding ring pillow belonging to the artist’s sister, now divorced. It is paired with a found faceted plastic prism—likely once ornamental—and a stamped aluminum tag reading “Chains against standardized life & death.”
Together, the pair stages a quiet collision between romance, refusal, sentimentality, and collapse. Wedding ritual, sidewalk debris, punk aesthetics, and synthetic hair are held in equal regard. Nothing is elevated; nothing is discarded.
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