Shown to the public for the first time at the Feria de Arte Contemporáneo de Madrid (ARCO) in 1995, Sense títol (cabells de dona) is the first work in which Susy Gómez used synthetic hair as the main material. It consists of a ghostly figure, a metal anima whose size is very similar to a human body, totally covered with glossy, deep black synthetic hair, which flows out at the back to form a growing tail. This is one of the rare examples of her work in which, instead of having recourse to seduction to build bridges with the spectator, she revels in a repulsive vision to create a sensation of isolation and tragedy. Suggestive, like all her works, Sense títol (cabells de dona) induces the spectator to think about everyday things such as waiting or the inflexibility of the passage of time, but it is also a work which conceals a particular state of mind and a very specific need: to preserve ourselves from our own vulnerability and to protect ourselves with a part of ourselves: our hair, an element of the human body that says as much about us as the words we utter and which is usually associated (according to its appearance) with our state of mind. After this forceful, disquieting work, synthetic hair reappeared in 1996 in Untitled (tufts of synthetic hair tied together to form a kind of liana that hangs from the wall), and in 1998 in Conforme me va invadiendo el deseo [As desire sweeps over me] (hair cut and scattered around the corners of a space, as if it were the remains of an exercise in stripping in front of the public). The fact is that in relation to her own body or, by extension, the human body, her works always refer us to the awareness that leads us to be what we are to other people and to ourselves.