Soft Acid engages the textile as a charged site of transformation, where garments—once functional and fashionable—become sculptural residues of fast-fashion’s global choreography; her use of synthetics, discarded uniforms, and toxic dyes mirrors a material language that I have also explored through re-(t)exHile and the ongoing MEAT series, where waste fabrics, urban fragments, and installation gestures accumulate into unstable, processual forms. In re-(t)exHile, textile debris speaks to geopolitical displacement and postcolonial circulation, unfolding in open architectures shaped by wear, rupture, and repair, while MEAT dissects and reconfigures the urban object through gestures of repetition and subtraction, echoing the sculptural logic of Tenant’s suspended hybrids. Both practices dwell in the in-between—between fashion and sculpture, utility and excess, memory and mutation—where the garment no longer fits the body but performs its own autonomy. Her installations and mine converge around the performative instability of matter, the choreography of waste, and the poetic possibilities of fragmentation. Rather than resolving, both ask how value, identity, and form can be continually undone and redrawn. In this quiet dialogue, Soft Acid becomes not just a parallel, but a closing point of resonance—where her stitched tensions meet my spatial cuts, and the textile becomes not clothing but a thinking surface.
