Ties is a body of work constructed from neckties inherited from the artist's grandfather, objects that arrive already loaded with time, identity, and the particular formality of a generation that dressed for the world.

The neckties function simultaneously as subject, medium, and support: incorporated into the canvas, painted over, painted on. Each piece is at once a painting and an object, a surface and a material, a found thing and a made thing.

The collection engages with the full arc of the tie as artefact. Corporate dress codes, long enforced from the top down, made the necktie a near-universal requirement of professional life, a small, expensive object produced in volume, purchased in obligation, accumulated across decades. The decision to wear one was rarely personal; it was institutional. The tie was always already a product of systems larger than the individual: boardroom policy, manufacturing chains, seasonal collections, the quiet pressure of conformity dressed as distinction.

Ties inherits this history and redirects it. Rather than discard, as consumer logic demands, as fast production encourages, the work folds the object back into making. Upcycle as critique. Reuse as gesture. The inherited tie, destined by the logic of overconsumption to become waste, becomes instead the ground on which something new is built.

What remains is both painting and relic: the residue of a system, transformed by hand.