Prelude: Omen Hoods explores the mask as a prosthesis, examining its role as a mediator of identity and communication. Here, the mask serves not only as a vessel for personal expression but also as a dynamic site of negotiation between the wearer and the observer. It exists as a threshold where identity is both shaped and reflected—fluid yet anchored in the complex interplay of power, perception, and self-representation.

The hoods—linked by a skin tube—are displayed on a waiting table, poised for interaction, with a drawer slightly ajar. This subtle presentation offers a glimpse into the materials and processes behind the creation of the double hood, underscoring the craftsmanship passed down as a family heirloom—from grandmother to grandson: paper and tracing wheel for patternmaking; raw silk, thread, and needles for sewing; and sheepskin parchment with cutting-point needles for leatherwork. The partially open drawer invites embodied engagement, grounding the photographic portrait of the wearers, who perform identities within a space that shifts between reality and fiction.

As the breath of the masked figures intertwines, an invisible space is created where recognition transcends the visual. Breath—often a silent marker of intimacy—becomes a language that connects wearer and observer beyond sight. In this moment, the mask transforms into a mediator between the real and the imagined, where identities are both hidden and revealed. Prelude: Omen Hoods erases boundaries between self and other, body and representation, turning the act of masking into a collective experience of shared humanity.