A similar concern with memory and embodied relation emerges in Audya Amalia’s unconventional use of synthetic hair, braided into large-scale installations, in Things Left Unsaid On The Edge of Her Fingers. the intimate gesture of braiding once shared with her mother is reconfigured as a collective ritual, inviting others to join in weaving strands together. In this way, the personal becomes cultural: a tactile practice that reactivates kinship while generating new forms of communal identity. The braid, as both material and gesture, is a structure of relation and a mode of connectivity that transcends the individual body. Unlike permanence, braiding is a reversible act, reflecting memory’s capacity to shift, loosen, and reform. In this sense, her practice reveals prospective memory as an ongoing negotiation.