Presenting distorted facial motifs, the contorted figures in Bradley’s tapestries challenge facial recognition. Each piece unearths a sense of revelation while concealing itself from detection. Digitally-developed as grayscale pieces, with a fine attention to detail, each tapestry is woven with RBG coloured thread that is only visible to the eye close-up. Each piece showcases the digitally disfigured faces of real people, emphasising and provoking the visual exploitation of identity in a retouched world.

The exhibition also features Hansdotter’s intricate attention to detail in her glass blown figures. Her work resembling a body-like presence, preserved in fleshly alien figures, draws on her traditional training as a glassblower into an unforeseen combination of colour and texture, with each sculpture exploring a new dimension of space and direction. The artist’s works compliment Bradley's tapestries, both experimenting with the manipulation of the human form, creating a foothold for an unanticipated similitude of creation. Straying for the usual gallery format, Once Twice is the first major gallery exhibition to sell works as both physical objects and non-fungible tokens, collectible both physically and digitally.