Gathering under one roof for a single day, the project unfolds as a collective exercise in looking, dressing, performing and photographing. Synthetic materials such as wigs, lace lingerie and cheap plastic heels move between bodies, becoming shared tools through which transfemininity is rehearsed and temporarily inhabited.

What emerges is less a documentation of fixed identities than a record of image-making as a continuously negotiated situation shaped by distributed authorship: photographing becomes something shared across the group, where subject and author are repeatedly exchanged, and every pose is also a response to someone else’s framing.

Printed in newspaper format, The House embraces a medium associated with mass circulation, ephemerality and everyday consumption. This choice aligns the image with systems of reproduction, where images are handled, folded and passed on.

At its core, The House is a playdate between three friends. What holds the work together is not a fixed framework, but an ongoing coordination of attention, bodies and images, where roles remain unstable and nothing fully settles into a final position.