Interweaving ideas of identity through the uncanny properties of hair, Bowles playfully twists and entwines her narratives presenting them in facsimiles of environments, masquerading as museums, halls of grandeur and familiar domestic spaces.
Within the exhibition, Sasha creates curious encounters through narratives rooted in identity, perception, deception and reality blurring the strands between fact and fiction, discovery and transformation.
‘Sasha’s Hairy Interventions’ oscillate between a number of positions: visions of unspeakable strangeness, grotesque assemblages, humorous and absurd appendages that echo surrealist objects.’ (Geraint Evans 2018)
Bowles appropriates once familiar objects, old master paintings, found ornaments and etchings fallen from historical books; she then erases, rearranges and discretely brushes over her unwitting sitters and artefacts. Using elements of the museum, the collection and display, the works are re-contextualised, opening new interpretive possibilities. Through the skilful use of oil paint, natural and artificial cascading hair, reformed clay, prints and videos she conjures new paradoxical representations, charged with quasi-familiar narratives.
Sasha’s work is defiantly naughty, disobedient and bold, offering the viewer a playful engagement that in the end, might not play quite fair.