Loafhead
(2025)
Happily Ever After examines the relationship between optimism, apathy and the persistent idea of life as a linear progression towards resolution — a point at which everything finally falls into place. Drawing on Lauren Berlant’s notion of ‘cruel optimism’, the exhibition considers hope, superstition and small gestures of reassurance as ways of navigating uncertainty, while questioning when these might also become forms of stasis.
Through a series of small-scale wall sculptures and a textile installation structured around the phases of the moon, Happily Ever After sets the promise of a definitive ending against cycles of growth, decline and renewal. Moving between humour, anxiety and hope, the exhibition asks what remains when the promise of ‘happily ever after’ gives way to a continuous process of beginning again.
LoafHead centres on a speculative hybrid figure—part body, part bread—used to explore hesitation, escapism and denial. Bread becomes both material and metaphor: something that nourishes and grows, but also dries out, decays and disappears.
Through textile, sculpture and performance, the exhibition looks at how we respond to instability and crisis: how we adapt, avoid, endure or imagine our way out. At once vulnerable and absurd, LoafHead becomes a figure for both exhaustion and the possibility of change.
Location
Oddkin, East Providence, USA
Materials / media
Mixed textiles (cotton and blended fabrics); yeasted dough coloured with beetroot and turmeric; acrylic resin and gouache; acrylic paint on fabric
Dates
2025
Happily Ever After examines the relationship between optimism, apathy and the persistent idea of life as a linear progression towards resolution — a point at which everything finally falls into place. Drawing on Lauren Berlant’s notion of ‘cruel optimism’, the exhibition considers hope, superstition and small gestures of reassurance as ways of navigating uncertainty, while questioning when these might also become forms of stasis.
Through a series of small-scale wall sculptures and a textile installation structured around the phases of the moon, Happily Ever After sets the promise of a definitive ending against cycles of growth, decline and renewal. Moving between humour, anxiety and hope, the exhibition asks what remains when the promise of ‘happily ever after’ gives way to a continuous process of beginning again.
Happily Ever After examines the relationship between optimism, apathy and the persistent idea of life as a linear progression towards resolution — a point at which everything finally falls into place. Drawing on Lauren Berlant’s notion of ‘cruel optimism’, the exhibition considers hope, superstition and small gestures of reassurance as ways of navigating uncertainty, while questioning when these might also become forms of stasis.
Through a series of small-scale wall sculptures and a textile installation structured around the phases of the moon, Happily Ever After sets the promise of a definitive ending against cycles of growth, decline and renewal. Moving between humour, anxiety and hope, the exhibition asks what remains when the promise of ‘happily ever after’ gives way to a continuous process of beginning again.