hoodies

The front is a column. The back is a report. On the left side of the front, two white image blocks are stacked vertically: a figure near a window in the upper frame, a figure seated or collapsed in the lower one. Between and...

The word at the top is MEMORY. Everything below it is evidence. A dense white collage print runs across the front chest: portrait photographs, a seated figure, fragments of text and small images layered together like a bulletin board or a page torn from...

The front inverts a name. The back degrades a painting. Both are deliberate. On the front left chest, a square image: two figures, heads close, caught in a moment of intimacy or whisper, printed in high-contrast black and white. Beside the image, rotated and...

One person. One plane. No one waiting. The illustration on the back is a single scene: an airplane parked on a runway, the boarding stairs extended, and a figure walking down alone, bag in hand, back to the viewer. The aircraft bears the name...

Two texts. One garment. History as a cut. The front carries a white-framed archive image — a room, multiple figures, the grain and contrast of a photograph not meant to be reproduced. Above it: STALIN’S SECRET. Below it, letters spaced wide: D A U G H T E R. The phrase...

The title on the front is a banned book. The text on the back is the reason. The Well of Loneliness — Radclyffe Hall, 1928. The first novel in English to deal openly with lesbian love. Within months of publication it was prosecuted in...

The figure on the back is upside down. Everything else is vertical. On heather gray — the lightest ground in the collection — a large square image dominates the back: a woman, inverted, head down, body open, suspended between falling and floating. The photograph...

This one looks like it came out of a zine that was photocopied until the image started to break down. The base is black heavyweight fleece, bleached at the seams, cuffs, and hem in washes of blue-white — not a symmetrical pattern, not a...

The question is on the front. The back is the evidence. On the left chest, in small white sans-serif: POUR LA PORNOGRAPHIE? Below it, a column of dense text fragments — OPT FOR US / PERSONALIZATION / PERSONALIZE SUBVERSION / OF IDENTITIES — BRAT...

One person who cannot see. One crowd that cannot stop. The front carries a single small image at the left chest: a head in profile, face and eyes wrapped in cloth, rendered as clean white line art — the kind of image that reads...

Three men. Faces hidden. Their names underneath. The front carries E. R. D in large red serif — the full stops present, the name formal, abbreviated, institutional. Below it: three figures side by side, each one a man with his face obscured — hat...

The same story. Older paper. This is the silver gray version of the “Dressing Up” hoodie — identical print, different ground. Where the slate blue reads as overcast, the silver gray reads as already faded, the color of a document that has been handled...

She is looking at you. She already knows what you came here for. The back of this hoodie is a magazine cover — or something designed to look like one. At the top, the ERD logotype is spelled out in spaced letters separated by...

Two kids on the floor. Nothing happening. That’s the whole image. The hoodie is azure blue — saturated, flat, the blue of anime sky backgrounds and Y2K sportswear. The back is completely blank. All the information is on the front, in one small framed...

The text is cut up. The photos are tilted. The sentence never finishes. Slate blue ground, low-saturation, the color of a sky that can’t decide whether it’s overcast. All printing in near-black — no color contrast, only tonal. The front opens with e r d in...

The head is a camera. The pig was the rehearsal. Benny’s Video is a 1992 film by Michael Haneke. Benny is fourteen. He owns a video camera. He watches the world through it — including footage of a pig being killed with a bolt...

The sentence doesn’t finish. It just says: my role. Black ground, white printing only. The front opens with E·R·D in spaced letters above a horizontal documentary photograph — a figure at a machine or a desk, the image high-contrast and close-cropped, the visual grammar...

The whole of the law. In a hoodie. Washed blue heavyweight fleece, deep-toned print throughout. The color is faded and uneven, the surface treated to look like something that has been worn through rituals rather than purchased. The front opens at the top with...

Four directions. One instruction. No ambiguity. Black ground, orange printing — the colorway of construction signs and emergency notices, the palette that commands attention before the eye has time to read. This is the loudest piece in the collection, and it knows it. The...

The same face. A different kind of disappearing. This is the washed blue version of the Overexposed Portrait hoodie — identical composition, identical image, a different ground. Where the charcoal version reads as something darkening toward absence, the blue reads as something submerged. The...