In Attachment, infancy gives way to the expanding world of the toddler as the Artist-Mother is spectator to the Child’s unfolding drama. Symbols appear through the Mother’s eye; a dolphin jumps above the waterline, the Father’s shoes are laced, and a balloon takes on a faceless anthropology. These markers are constructed through a language of intimacy, as Harradine Bayly asks; what may an object, a body, or form invoke of the heart?

There is a seriousness to the aesthetic, as the animus of Tillmans and Ruff – masculine proponents of 90s photographic conceptualism – is tempered by a tradition of queer and feminist artists who foreground the personal and the familial. Attachment is situated at this intersection, as the minimal frame crops and confines our view of the Child. Harradine Bayly’s narrative gives way to abstraction, and the Child continues to elude her own story.

The mind of Attachment is itinerant, a voice that speaks out through the sense-memories of early childhood.