The artwork consists of a life-sized hairbrush built entirely from shards of glass. The brush is presented being held by a hyper-realistic plaster hand, cast and painted from the artist’s own hand.

In this work, I depart from the contradictions between care and danger. The choice of an intimate domestic object, associated with aesthetics, hygiene, and affection, makes tangible the dialectic between touching and hurting. The term 'care' is activated in its dual valence: as a practice of protection and an expression of warning. While the brush evokes care as self-care and care for others, shards of glass often precede the warning: 'Careful! There is broken glass.'

The title draws upon the psychoanalytic concept of the 'good-enough mother' (D. W. Winnicott) to shift the notion of care into an ambiguous territory, where protection is always temporary, limited, and capable of wounding.

As an aesthetic operation, the piece aims to produce an immediate sense of tension: it attracts through the recognition of an everyday object and repels through the implied risk of touch.

The presence of the artist’s own hand introduces a self-referential layer, turning the gesture of holding a hairbrush, a cultural symbol of care, vanity, and femininity, into an act of exposure and injury. Can practices of self-protection, paradoxically, harm the very body they seek to shield? Between a caress and a threat, Suficientemente boa (Good-Enough) is a sculpture that contradicts itself.