Inspired by Theodore Roethke’s poem ‘Epidermal Macabre’ Xenolith began slashing leather skins with precision to communicate a controlled self-mutilation and destruction. Taking the skins into three-dimensional, combining influence from George Condo’s ‘Mental States’ painting, the shapes became fluid and multi-functional communicating a double-layered personality as well as the consequences of losing touch with one’s physical presence. The shapes were draped in multiple variations from a corseted base which both follows the natural contours of the body but also acts as a restrictive force when boning is inserted into a natural material.