Composed primarily of a knit structure embedded with aluminium, the surfaces have a degree of both malleability and rigidity. When a body interacts with a surface, the surface changes shape. When interaction ceases, the surface holds its new form. The last interaction is now recorded within the material. This recording proves temporary and remains only until the next interaction.

The surfaces, of recordable and textile-based qualities, exaggerate the very nature of clothing. However, the merging of these two qualities incurs a certain conflict when clothing and bodies are concerned. Creasing at the crook of the arm, bagging at the knee—evidence of a body’s movements recorded upon clothing amounts to little more than this. Next comes the steam, hot water, soap. Like other impurities associated with the body, these recordings are all too soon purged. And so, the clothing’s tangible connection to a moving body has, for the most part, ceased.

Like clothing, the surfaces are worn by a body. With movement, a surface is sculpted. When no longer worn, evidence of the last movement lingers. Although apart, the connection between surface and body remains. In effect, the body’s ability to move is no longer denied but embraced.