Ceremony was a one-off installation in a group show in London whose aim was to commentate on the idea of rites of passage. Hans Stofer's research developed from a wish to commemorate the trauma of his wife's cancer and loss of her hair during chemotherapy. His process involved coming to the recognition that the purpose of making can be 'a method of deflection, an emotional aide to give thoughts a focus'. His research thus revealed a significant role and relevance of objects beyond issues of consumption, so that for Stofer this was the first time he made work for a public show that directly expressed personal feelings and emotional concerns.

The hair raised issues of materials and their relationship to meaning; it was an intention of the research to explore the ambivalent implications of the use, handling and processing of the hair for the original owner, the maker and the viewer alike. The aim was to create a three-way dialogue of objects, which acted as 'deflectors', 'reflectors' and 'reminders' in the translation from the body in private to the installation in public space. The installation consisted of a comb with hair extensions, a mirror brush, a light bulb stuffed with hair and a hair-covered, skinlike plate with a moth entangled in it, all placed on a small workshop table usually used for Stofer's writing and designing.

Contextual study during the research drew on his interests in surrealism and Dada, Art Brut, Joseph Beuys, and architects and designers such as Herzog & de Meuron, Droog Design and Christopher Dresser, all of whom used everyday materials and forms innovatively to create meaning.

The exhibition was reviewed in Time Out and Art Review.