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Blood Glove (2025), is a textile work that materializes unfuture by holding the viewer inside the temporality of chronic survival. The textile medium intensifies this temporality as woven fabric and is built slowly, thread by thread, and yet is also prone to fraying, unraveling, and deterioration. Its structure makes visible both the labor of assembly and the potential for undoing. This echoes Samuels’s crip time—a time shaped by slowness, unpredictability, and the body’s needs—and transforms it into a material condition. The soft blurring of the image, produced by the weaving process, mirrors the blurred horizon of unfuture: a future not entirely gone but out of focus, inaccessible, or structurally withheld. The bloodied hand functions as a site of necropolitical vulnerability (Mbembe; Casid). It is not a symbol of death but of slow death (Berlant)—the ongoing, wearing down of bodies under racialized, medicalized, and economic pressures. The piece does not sensationalize harm; instead, it renders harm mundane, woven into the fabric of daily life. This aligns with my definition of unfuture as the lived temporal consequence of capitalism—conditions under which certain bodies are expected to endure chronic injury, medical surveillance, abandonment, and shortened life expectancy.
By translating a scene of bodily vulnerability into a domestic textile—an object associated with rest, warmth, and protection—the work also exposes the collapse of care infrastructures. The blanket does not fully protect; it carries the wound instead. It becomes a record of the moments when the world withdraws its supports, and the body becomes its own archive of survival. In this way, the artwork stages unworlding (Halberstam) and unfuture simultaneously: the world’s failure to hold the subject, and time’s failure to extend forward. A body wrapped in a blanket becomes a temporary shelter—a site of warmth and containment. After a hospital stay, I return marked: bruised at the IV sites, starved of human touch yet handled repeatedly by gloved hands, depleted from fasting, weakened from immobility, and at times jaundiced by chemical interventions. The materiality of this work articulates the conditions of trans crip unfuture, wherein temporal perspective moves between past trauma and a present saturated by precarity.