For the 61st International Art Exhibition of La Biennale di Venezia, Marcia Kure presents "Network V," a new body of work developed between her studios in Nigeria and the United States. In "Network V," Kure offers a bold and sustained investigation into the politics of the marked body, the circulation of material, and the layering of time. Her practice moves fluidly between drawing and sculpture, expanding the function of the line beyond its conventional limits to encompass inscription, embodiment, and the residual operations of power.

The body here is not rendered as a complete figure but examined as a condition. Kure replaces anatomical clarity with fragments, silhouettes, and shifting presences that hover between recognition and abstraction. These bodies bear the imprint of displacement, extraction, commodification, and transformation. The sculptures in Network V are not simply an extension of drawing into three dimensions; they reconfigure the line into space, structure, and scale. These forms, composed of synthetic hair, wax, wood, pearls, and other materially potent elements, inhabit the terrain between the organic and the fabricated.

Kure has described them as “road kills”, metaphorical creatures formed at sites of collision between the natural and the manufactured, the sacred and the expendable. Hair, a central material, holds profound cultural weight. In African and diasporic traditions, it has functioned as a medium of identity, regulation, and encoded knowledge. By using synthetic hair, a mass- produced, commercialized product, Kure implicates systems of global trade and the industrialization of beauty. Yet through braids, knots, and coils, she also signals hair’s historical role as a communicative tool capable of mapping lineage, offering protection, or encoding survival strategies in the context of human commodification.