which resists capture, this rippling

Painstakingly placed on the ground, then removed, 5 skins (2000/2018/2024) was made by Episalla from velvet stripped from a family couch. Its tender, intimate rippling of fabric resisted capture. In Hansma’s Viderkol (minor) 2 & 3 (2024), digitally pounced textiles appeared within large-scale paintings alongside the shadows of flowers he had gathered and dried over many years.

Together, Episalla’s and Hansma’s works set the stage for Özbay’s performance à double trenchant (2024). Özbay presented a collection of gathered, remembered, and archived similarities, tracing visceral memories through popular culture and Circassian mythologies, particularly the story of the war goddess Nart Sane. The three artists connected through their material sensibilities, bringing the stories of the past into view.