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Yana wears a sculptural bodice in logwood-iron raw silk gazar, bound in sappanwood habotai bias tape and fastened by linked brass buttons. Paired with tailored flannel wool trousers.
Cici wears a hemp sail cape layered over an airy doubled mallow silk gauze pencil, finished with raw edges and a center back split.
Ryan wears a double-hooded cape in denim-printed silk organza, paired with sheer asymmetrical shorts.
Zuoye wears a waxed silk cape with linked brass buttons, styled with an intersecting, subtle windowpane wool skirt.
Tamora wears a logwood-iron silk and alpaca dress.
Stas wears a safflower-stained crab claw top with logwood silk shorts, detailed with sappanwood bias drawstrings.
Alex wears mustard-green cotton voile fins, cascading over a grey horsehair canvas dress underlayer.
Oumar wears an unfolding Hansan ramie wedding train, unadorned and luminous.
Presented at Powerhouse Arts, May 2024
Cici wears a hemp sail cape layered over an airy doubled mallow silk gauze pencil, finished with raw edges and a center back split.
Ryan wears a double-hooded cape in denim-printed silk organza, paired with sheer asymmetrical shorts.
Zuoye wears a waxed silk cape with linked brass buttons, styled with an intersecting, subtle windowpane wool skirt.
Tamora wears a logwood-iron silk and alpaca dress.
Stas wears a safflower-stained crab claw top with logwood silk shorts, detailed with sappanwood bias drawstrings.
Alex wears mustard-green cotton voile fins, cascading over a grey horsehair canvas dress underlayer.
Oumar wears an unfolding Hansan ramie wedding train, unadorned and luminous.
Presented at Powerhouse Arts, May 2024
When the Moon Waxes Red takes its title from the titular phrase in Trinh T. Minh-ha’s 1991 text, describing an interval, a threshold where shifting ways of representing marginalized subjects converge—at once calamitous and foreboding and luminous and liberatory.
In the renewed terrain of struggle and of deterritorialized subjectivities, no moon-lovers can really claim possession of the soft light that illuminates towns, villages, forests, and fields…The one moon is seen in all waters; and the many-one moon is enjoyed or bawled at on a quiet night by people everywhere—possessors and dispossessed.1
This collection of garments speaks to this interval of waxing red, of deterritorialization, of shuttling in-between, of hyphenated realities in colonial peripheries, like swelling crescents and yearning and heaving limbs, like masts of restless ships.
1 Trinh T. Minh-ha, When the moon waxes red: representation, gender, and cultural politics, (New York: Routledge, 1991), 3.
In the renewed terrain of struggle and of deterritorialized subjectivities, no moon-lovers can really claim possession of the soft light that illuminates towns, villages, forests, and fields…The one moon is seen in all waters; and the many-one moon is enjoyed or bawled at on a quiet night by people everywhere—possessors and dispossessed.1
This collection of garments speaks to this interval of waxing red, of deterritorialization, of shuttling in-between, of hyphenated realities in colonial peripheries, like swelling crescents and yearning and heaving limbs, like masts of restless ships.
1 Trinh T. Minh-ha, When the moon waxes red: representation, gender, and cultural politics, (New York: Routledge, 1991), 3.