I
Wrapped in film, the scent is sealed inside, and the intensity is exactly right. Because it lies so close, what is trapped there becomes very strong. As the wait goes on, the scent builds and deepens little by little; by the fifth day it has grown heavier, though it must still be smelled at close range.
The moment it is unsealed, the aroma of wine rushes out; each unsealing releases the same rich vinous scent. Brought close to the nose, a slight odour begins to appear; held further away, there is almost no scent at all. From a distance, that ordinary unpleasant smell; directly beneath the nose, almost none of it remains, only a faint trace of body fragrance. First the slight unpleasantness, then a rich fragrance, followed by the faint smell of sweat, and finally a faint animalic note. Damp and sour. One lick: salty, with a slight bitterness. Even after opening, the fragrance still haunts.
Wrapped in film, the scent is sealed inside, and the intensity is exactly right. Because it lies so close, what is trapped there becomes very strong. As the wait goes on, the scent builds and deepens little by little; by the fifth day it has grown heavier, though it must still be smelled at close range.
The moment it is unsealed, the aroma of wine rushes out; each unsealing releases the same rich vinous scent. Brought close to the nose, a slight odour begins to appear; held further away, there is almost no scent at all. From a distance, that ordinary unpleasant smell; directly beneath the nose, almost none of it remains, only a faint trace of body fragrance. First the slight unpleasantness, then a rich fragrance, followed by the faint smell of sweat, and finally a faint animalic note. Damp and sour. One lick: salty, with a slight bitterness. Even after opening, the fragrance still haunts.
II
At first, a faint woody fragrance, and the further inward one explores, the more compelling it becomes, until it is impossible to pull away. From outside to inside: clean wood, then the faint fragrance of sweat. Near the collar the scent is lighter, perhaps because of the sweat; beneath the arms, probably where the most sweat gathers, it is fragrant too; around the navel it is most fragrant. Where sweat collects beneath the arms, something like white onion, slightly pungent yet sweet. Wherever the contact lasted a long time, the scent has been absorbed more deeply.
At the ankle the scent is like candy; along the sole, a little like sour plum; at the toes, the most sour and the most concentrated. The top of the foot carries a slight fragrance, which feels like laundry detergent; following it down toward the sole the scent changes, like foot sweat, or the smell left where the sole has rubbed against a shoe; and smelling around the toes, everything merges again. A faint scent of foot, and leather.
The darker in colour is also the saltier; the paler is more mellow; then it turns slightly sweet, and at the end there seems to be something faintly herbal. The same pleasant scent of a cultured milk drink. The scent has many layers, each growing richer than the last, like chocolate becoming more intense the more one eats.
At first, a faint woody fragrance, and the further inward one explores, the more compelling it becomes, until it is impossible to pull away. From outside to inside: clean wood, then the faint fragrance of sweat. Near the collar the scent is lighter, perhaps because of the sweat; beneath the arms, probably where the most sweat gathers, it is fragrant too; around the navel it is most fragrant. Where sweat collects beneath the arms, something like white onion, slightly pungent yet sweet. Wherever the contact lasted a long time, the scent has been absorbed more deeply.
At the ankle the scent is like candy; along the sole, a little like sour plum; at the toes, the most sour and the most concentrated. The top of the foot carries a slight fragrance, which feels like laundry detergent; following it down toward the sole the scent changes, like foot sweat, or the smell left where the sole has rubbed against a shoe; and smelling around the toes, everything merges again. A faint scent of foot, and leather.
The darker in colour is also the saltier; the paler is more mellow; then it turns slightly sweet, and at the end there seems to be something faintly herbal. The same pleasant scent of a cultured milk drink. The scent has many layers, each growing richer than the last, like chocolate becoming more intense the more one eats.
III
The warm dampness of the moment it was removed is still perceptible. It arrived not yet completely dry; around the toes it was still damp, giving off a faint sour odour. A new method of tasting: warmed slowly with a fan heater, something like vaporised tobacco and wine, waiting until the fabric is slightly warm before savoring it. The first waft brings on hunger; one resists it. There really is the smell of grass, and of onion broth. Sweet and sour with something slightly milky, combining into the aroma of dried cheese, almost exactly like dessert after a meal paired with unsweetened tea.
This feels more like an everyday scent than one made for a one-off sale. There is something warm and gentle about it; after bathing, completely clean, it is simply the particular scent that was already one’s own. Because it is thin now, close to giving way, the fragrance is lighter: a faint freshness with a slight animalic note. Even hanging on the balcony, a trace of odour remains. Merely unfolded, it fills the entire surrounding space; left beside the table, a faint fragrance can still be smelled.
Nearly a week later, the scent is still rich; put back after use, it lasts more than a month. Importantly, the scent still has not spoiled. Even faint, the scent carries a kind of temptation: it makes one want to keep smelling it, to hold it close while sleeping. The fragrance remains on the hands; lying in bed, breathing it in, one gradually falls asleep. It feels as though someone were sleeping alongside, and the sleep is sound.
The scent remains, impossible to dispel, its lingering finish going on and on.
The warm dampness of the moment it was removed is still perceptible. It arrived not yet completely dry; around the toes it was still damp, giving off a faint sour odour. A new method of tasting: warmed slowly with a fan heater, something like vaporised tobacco and wine, waiting until the fabric is slightly warm before savoring it. The first waft brings on hunger; one resists it. There really is the smell of grass, and of onion broth. Sweet and sour with something slightly milky, combining into the aroma of dried cheese, almost exactly like dessert after a meal paired with unsweetened tea.
This feels more like an everyday scent than one made for a one-off sale. There is something warm and gentle about it; after bathing, completely clean, it is simply the particular scent that was already one’s own. Because it is thin now, close to giving way, the fragrance is lighter: a faint freshness with a slight animalic note. Even hanging on the balcony, a trace of odour remains. Merely unfolded, it fills the entire surrounding space; left beside the table, a faint fragrance can still be smelled.
Nearly a week later, the scent is still rich; put back after use, it lasts more than a month. Importantly, the scent still has not spoiled. Even faint, the scent carries a kind of temptation: it makes one want to keep smelling it, to hold it close while sleeping. The fragrance remains on the hands; lying in bed, breathing it in, one gradually falls asleep. It feels as though someone were sleeping alongside, and the sleep is sound.
The scent remains, impossible to dispel, its lingering finish going on and on.
The text above is assembled from buyer reviews and messages drawn from different transactions across online fetish marketplaces, edited through omission, extraction, reordering and minor textual adjustment. Translated from Chinese.
Hysteresis
2026/9/23 ~ 2026/12/23
NCCU Arts & Culture Center, Taipei, Taiwan
The seven works in Hysteresis began in exchanges with sellers on online fetish marketplaces and in the worn garments acquired through those exchanges. Socks purchased within Taiwan traveled through the island’s convenience-store pickup network: sealed into parcels, carried between neighborhood shops, and eventually collected by someone who may never meet the wearer. One new work extends this journey to a full outfit purchased from a seller in Japan, moving through translated messages, payments in different currencies, and international shipping before entering the artist’s process.2026/9/23 ~ 2026/12/23
NCCU Arts & Culture Center, Taipei, Taiwan
These garments once rested directly against a body. Fabric stretched with movement, compressed under weight, and changed through friction, warmth, moisture, and time. After the wearer has taken them off, these subtle alterations remain, traveling with the garment into another person’s hands. It retains the consequences of contact without offering a likeness.
The garments arrive carrying scent, for many buyers the reason to acquire them. Ni Hao shapes and hardens the fabric with resin, turning wearable clothing into sculpture and sacrificing that scent in the process. Contact leaves its traces in the hardened form; what once traveled through the air toward another person can now be reached only through description and imagination.
The hardened garments are assembled with furniture, consumer products, industrial and automotive components, glass, steel, and other found objects. Details that surfaced in each exchange extend into partial environments, at times resembling supports, enclosures, vitrines, or constructed habitats. Set apart from one another, the works can recall specimens in a natural history display, while their wearers continue their lives elsewhere. Video alongside the sock sculptures returns to the acts of putting on and taking off the garments. The full outfit is accompanied by photographs and videos made by its seller, as well as images documenting the garments before their transformation.
Each work also carries a conversation that began as a transaction. Questions, price negotiations, requests for images, and the boundaries of what could be shared gradually opened onto work, relationships, bodies, financial circumstances, and personal associations with the garments. Some exchanges stayed brief; others deepened over time, and one developed into an interview. Conducted amid commerce, curiosity, performance, and partial trust, the messages and the ways sellers chose to present themselves enter the work alongside the clothing and images.
At the 2025 Taipei Biennial, the six sock works stood together on one platform, while selected conversations became a large animated projection. In Hysteresis, each has a newly conceived support and spatial arrangement, changing the distance and manner of a viewer’s approach. The full private conversations behind all seven works are now accessible through QR codes as scrolling pages on a visitor’s own phone, returning to the scale and posture in which they first circulated. A sculpture may be met before its circumstances are known. The Biennial presentation remains one stage in the series’ history as the conditions of viewing continue to change.
The three passages printed alongside this statement are drawn from buyer reviews and messages from other transactions in online fetish marketplaces. Their descriptions of scent, taste, texture, and bodily traces bring the sensory language of that market into the gallery. They concern other garments, yet they let the scent lost in the making of these sculptures surface briefly in the reader’s imagination.
In physics and materials science, hysteresis describes a system whose present state bears the history of forces applied to it: when those forces are withdrawn, the system returns along a different path from the one by which it was loaded. Manufactured clothing becomes worn possession, intimate commodity, mailed object, sculpture. Private images and conversations enter public view. Temporary disclosures attach to objects that may outlast the exchanges that produced them. Each transition leaves something of what came before in a new form. The body has left the garment, the parcel has reached its destination, and the conversation has drawn to a close. Yet the effects of contact and exchange persist in marks on the fabric, gestures on a screen, words unfolding in the hand, and the viewer’s continuing imagination of someone living elsewhere.
一
藉由保鮮膜包裝將味道鎖住，這個味道恰到好處。因為很貼，所以會很強烈悶住的味道。味道隨著等待一點一滴堆疊加深；到了第五天，味道稍加變重，但必須近距離聞。
一拆封，美酒香氣撲鼻而來；每次拆封，都是濃濃的酒香。將鼻子湊近聞，開始出現一點點的異味；但如果不湊那麼近聞，沒有甚麼味道。遠遠地聞，能聞到那種正常臭臭的味道；可是湊在鼻子前面，就沒什麼臭味，還能聞到一點淡淡的體香。先是微微的臭味，再來是濃郁的香味，緊接著是淡淡的汗味，最後則是淡淡的騷味。濕濕又酸臭。舔了一口，鹹中帶有淡淡的苦。打開後香味依舊令人魂牽夢縈。
藉由保鮮膜包裝將味道鎖住，這個味道恰到好處。因為很貼，所以會很強烈悶住的味道。味道隨著等待一點一滴堆疊加深；到了第五天，味道稍加變重，但必須近距離聞。
一拆封，美酒香氣撲鼻而來；每次拆封，都是濃濃的酒香。將鼻子湊近聞，開始出現一點點的異味；但如果不湊那麼近聞，沒有甚麼味道。遠遠地聞，能聞到那種正常臭臭的味道；可是湊在鼻子前面，就沒什麼臭味，還能聞到一點淡淡的體香。先是微微的臭味，再來是濃郁的香味，緊接著是淡淡的汗味，最後則是淡淡的騷味。濕濕又酸臭。舔了一口，鹹中帶有淡淡的苦。打開後香味依舊令人魂牽夢縈。
二
打開時是淡淡的木質香味，越往內探索越帶勁，讓人無法自拔。從外到內，是木質清香、微微的汗香。在領口的味道稍淡，應該是有汗的關係；腋下應該是汗最多的地方，也是香的；肚臍處最香。腋下集汗處，有點像白洋蔥，微微刺鼻但又有甜味。長時間接觸的地方，會讓味道吸附的更多。
腳踝那邊味道像糖果的味道，腳底那邊是有點酸梅的味道，腳趾那邊是最酸最濃的位置。腳背的地方有一點香香，感覺是洗衣精的味道；順著往腳底聞，味道不一樣了，好像是腳汗，或是腳底與鞋子摩擦後的味道；聞聞看腳趾的地方，味道又融合在一起。淡淡的腳香與皮革味。
色澤較重且鹹鹹的，色澤較淡的則是甘甘的；再來感覺有點微甜，最後似乎有微微的中藥味。味道一樣是好聞的乳酸飲料味。味道有很多層，一層一層越來越濃厚，跟巧克力一樣，越吃越濃。
打開時是淡淡的木質香味，越往內探索越帶勁，讓人無法自拔。從外到內，是木質清香、微微的汗香。在領口的味道稍淡，應該是有汗的關係；腋下應該是汗最多的地方，也是香的；肚臍處最香。腋下集汗處，有點像白洋蔥，微微刺鼻但又有甜味。長時間接觸的地方，會讓味道吸附的更多。
腳踝那邊味道像糖果的味道，腳底那邊是有點酸梅的味道，腳趾那邊是最酸最濃的位置。腳背的地方有一點香香，感覺是洗衣精的味道；順著往腳底聞，味道不一樣了，好像是腳汗，或是腳底與鞋子摩擦後的味道；聞聞看腳趾的地方，味道又融合在一起。淡淡的腳香與皮革味。
色澤較重且鹹鹹的，色澤較淡的則是甘甘的；再來感覺有點微甜，最後似乎有微微的中藥味。味道一樣是好聞的乳酸飲料味。味道有很多層，一層一層越來越濃厚，跟巧克力一樣，越吃越濃。
三
是真的能感覺到脫下來那種濕熱的感覺。寄來時還沒完全乾，腳尖那裡濕濕的，飄著淡淡酸臭味。嘗試新品味手法，用電熱扇慢熱烘乾，類似氣態菸酒，等衣物微熱後品茗。第一吹聞到肚子餓，忍住餓意。真的有牧草香，也有洋蔥湯的香味。酸甜又帶點奶味，混合出乾乳酪香，超像飯後甜點跟無糖茶飲的搭配。
這更有平常味道的感覺，而不是為了一次的商品做出來的味道。有種暖暖溫柔的感覺；洗完澡乾乾淨淨，就是純純自己原有獨特的味道。因為要破掉了比較薄，所以味道淡一些；這次的味道屬於比較清淡的，淡淡的清香，還有一點淡淡的騷味。晾在陽台的時候也會覺得有異味。攤開而已，整個周圍都是味道；放在桌子旁邊，都會聞到淡淡的香味。
過了快一個禮拜，味道還很濃郁；使用完再放回後，味道還能持續一個月以上。重點味道還沒有變質。淡淡的味道有一種誘惑的感覺，會很想一直聞，很想抱著睡覺。手上還殘留著香氣，躺在床上聞著漸漸睡去。感覺在旁邊睡覺，睡得很安穩。
味道殘留，揮之不去，餘韻綿綿。
是真的能感覺到脫下來那種濕熱的感覺。寄來時還沒完全乾，腳尖那裡濕濕的，飄著淡淡酸臭味。嘗試新品味手法，用電熱扇慢熱烘乾，類似氣態菸酒，等衣物微熱後品茗。第一吹聞到肚子餓，忍住餓意。真的有牧草香，也有洋蔥湯的香味。酸甜又帶點奶味，混合出乾乳酪香，超像飯後甜點跟無糖茶飲的搭配。
這更有平常味道的感覺，而不是為了一次的商品做出來的味道。有種暖暖溫柔的感覺；洗完澡乾乾淨淨，就是純純自己原有獨特的味道。因為要破掉了比較薄，所以味道淡一些；這次的味道屬於比較清淡的，淡淡的清香，還有一點淡淡的騷味。晾在陽台的時候也會覺得有異味。攤開而已，整個周圍都是味道；放在桌子旁邊，都會聞到淡淡的香味。
過了快一個禮拜，味道還很濃郁；使用完再放回後，味道還能持續一個月以上。重點味道還沒有變質。淡淡的味道有一種誘惑的感覺，會很想一直聞，很想抱著睡覺。手上還殘留著香氣，躺在床上聞著漸漸睡去。感覺在旁邊睡覺，睡得很安穩。
味道殘留，揮之不去，餘韻綿綿。
以上文字摘自線上戀物市集中不同交易的買家評價與訊息，經刪節、擷取、重組及少量文字整理。
遲滯
2026/9/23 ~ 2026/12/23
政大藝文中心，臺北，臺灣
《遲滯》的七件作品，始於與網路戀物市場賣家的往來，以及由此取得的穿過的衣物。襪子購自臺灣境內，循超商店到店的物流網絡運送：曾緊貼他人身體的襪子被封入包裹，在不同街區的便利商店間轉運，最後由一個可能永遠不會見到穿著者的人取走。另一件新作則來自日本賣家的整套衣物，經過訊息翻譯、不同幣別的付款與跨國寄送，進入藝術家的工作過程。2026/9/23 ~ 2026/12/23
政大藝文中心，臺北，臺灣
衣物曾直接貼著身體。布料在穿著中隨動作拉伸、受重量擠壓，也因摩擦、熱度、濕氣與時間而改變。衣物脫下後，這些細微的形變仍留在布料裡，隨著包裹被帶到另一個人的手中。它保留接觸所造成的結果，卻不提供身體的形貌。
衣物抵達時仍帶著氣味，對許多買家而言，這正是購買的理由。倪灝以樹脂塑形並硬化布料，將可穿著的衣物轉化為雕塑，也以此捨棄了這股氣味。身體接觸過的痕跡留在形體裡；那種能隨空氣抵達另一個人的氣息，如今只能透過文字與想像去接近。
硬化的衣物與家具、消費商品、工業零件、汽車部件、玻璃、鋼材及其他現成物組合成新的結構。每次交流所浮現的細節，延伸為一個局部的環境：時而像承載物、包覆結構或陳列櫃，時而像一處人造棲地。分散於展場的作品，有時讓人聯想到自然史展示中的標本，而曾穿著這些衣物的人仍在別處繼續生活。與襪子雕塑並置的影片呈現穿上與脫下的動作；整套衣物則伴隨賣家自拍的照片、影片，以及塑形前的檔案影像。
每件作品也帶著一段從交易開始的對話。詢問、議價、影像要求與界線的協商，讓交流逐漸觸及工作、關係、身體、經濟處境，以及衣物牽動的私人聯想。有些談話止於短暫買賣，有些則持續深入，其中一段更發展為一場訪談。這些往來發生在買賣、好奇、表演與有限的信任之間；訊息的往返，以及賣家如何選擇呈現自己，都連同衣物與影像進入作品。
六件襪子作品曾在 2025 台北雙年展共同置於一座平台上，部分對話化為大型動畫投影。如今在《遲滯》中，它們各自擁有重新構思的承載結構與空間配置，也改變了觀眾接近作品的距離與方式。七件作品背後的完整私人對話，都可透過 QR 碼在觀眾手機上以捲動頁面閱讀，回到它們最初流通時的尺度與觀看姿勢。觀眾可能先遇見雕塑，再知道它的背景。曾經的展出成為作品歷程的一部分，而觀看的姿勢與條件持續變化。
與展覽文字並置的三段文字，取自網路戀物市場中其他交易的買家評價與訊息。關於氣味、滋味、質地與身體痕跡的細緻描述，將這個市場的感官語言帶進展場。它們寫的是其他衣物，卻讓雕塑在製作中失去的氣味，得以在讀者的想像中短暫浮現。
在物理學與材料科學中，「遲滯」描述一個系統如何帶著過去受力的歷程，形成當下的狀態：外力施加後再撤去，系統回返的路徑與施力時不同。大量製造的服裝成為穿著者的私人物品、親密商品、郵寄物件，最後成為雕塑。私人影像與對話進入公共展示。短暫交流中的自我揭露，附著於可能比交流本身存在更久的物件之上。每次轉換都讓先前發生的事以另一種形式留下。身體已離開衣物，包裹抵達目的地，對話告一段落；接觸與交換的作用，仍持續存在於布料的痕跡、螢幕上的動作、手中展開的文字，以及對身在別處之人的想像裡。
Exhibition map展場地圖
Click a raised number to view the individual artwork.點選浮起的編號，即可前往個別作品頁面。
Click a raised number to view the individual artwork.點選浮起的編號，即可前往個別作品頁面。
work list:
1.
The Bloom That Holds Her Shadow
2025 / Video duration: 4 min 36 sec
Display box dimensions: approx. 68.5 × 68.5 × 57.5 cm
Installation with laundry carts: approx. 135 × 110 × 140 cm
Two pairs of worn polyester and cotton socks purchased from a Taiwanese trans woman who presented herself as two sisters, contacted via Instagram following her response to an open call to the foot-fetish community on Threads; wood, beam-splitting glass, lights, two hotel laundry carts filled with hotel towels, and other mixed media.
A video monitor plays two videos consecutively, showing the two ‘sisters’ wearing and removing the socks at the seller’s residence.
The Bloom That Holds Her Shadow
2025 / Video duration: 4 min 36 sec
Display box dimensions: approx. 68.5 × 68.5 × 57.5 cm
Installation with laundry carts: approx. 135 × 110 × 140 cm
Two pairs of worn polyester and cotton socks purchased from a Taiwanese trans woman who presented herself as two sisters, contacted via Instagram following her response to an open call to the foot-fetish community on Threads; wood, beam-splitting glass, lights, two hotel laundry carts filled with hotel towels, and other mixed media.
A video monitor plays two videos consecutively, showing the two ‘sisters’ wearing and removing the socks at the seller’s residence.
2.
Ripened Moon
2025 / Video duration: 1 min 56 sec
Sculpture dimensions: approx. 60 × 60 × 45 cm
Sculpture and pedestal dimensions: approx. 85 × 75 × 145 cm
Worn cotton-polyester socks purchased from a pregnant mother on a Taiwanese online foot-fetish marketplace via Twitter; plastic, epoxy resin, steel, a pedestal constructed from a steel framework and vacuum-sealed clothing and blankets, and other mixed media.
A video monitor displays footage of the seller wearing and removing the socks in her bedroom.
Ripened Moon
2025 / Video duration: 1 min 56 sec
Sculpture dimensions: approx. 60 × 60 × 45 cm
Sculpture and pedestal dimensions: approx. 85 × 75 × 145 cm
Worn cotton-polyester socks purchased from a pregnant mother on a Taiwanese online foot-fetish marketplace via Twitter; plastic, epoxy resin, steel, a pedestal constructed from a steel framework and vacuum-sealed clothing and blankets, and other mixed media.
A video monitor displays footage of the seller wearing and removing the socks in her bedroom.
3.
Lovers III (Soft Mountain Offerings)
2025 / Video duration: 2 min 11 sec
Sculpture dimensions: approx. 107 × 75 × 54 cm
Installation dimensions: approx. 120 × 110 × 180 cm; configuration variable
Two pairs of worn magnetic cotton-polyester socks for couples, purchased from a pair of young parents on a Taiwanese online foot-fetish marketplace via Twitter; Huggies baby wet wipes, epoxy resin, plastic, wood, aluminum, domestic plastic drawer units in various colors supporting the sculpture and wooden deity and dragon figures, and other mixed media.
A video monitor displays footage of the sellers doing household chores and interacting with each other before removing their worn socks.
Lovers III (Soft Mountain Offerings)
2025 / Video duration: 2 min 11 sec
Sculpture dimensions: approx. 107 × 75 × 54 cm
Installation dimensions: approx. 120 × 110 × 180 cm; configuration variable
Two pairs of worn magnetic cotton-polyester socks for couples, purchased from a pair of young parents on a Taiwanese online foot-fetish marketplace via Twitter; Huggies baby wet wipes, epoxy resin, plastic, wood, aluminum, domestic plastic drawer units in various colors supporting the sculpture and wooden deity and dragon figures, and other mixed media.
A video monitor displays footage of the sellers doing household chores and interacting with each other before removing their worn socks.
4.
Nocturnal Chassis
2025 / Video duration: 2 min 15 sec
Sculpture dimensions: approx. 130 × 55 × 44 cm
Worn cotton-polyester socks purchased from a male seller on a Taiwanese online foot-fetish marketplace via Twitter; Tesla Model 3 synthetic leather seat components and a driver-side front fender panel, a foam-covered wooden platform, and a headrest sculpture incorporating resin-coated plastic and an actual Tesla headrest.
A video monitor displays footage of the seller inside a Tesla Model 3 at 1 a.m. in a quiet parking garage, wearing and removing the socks.
Nocturnal Chassis
2025 / Video duration: 2 min 15 sec
Sculpture dimensions: approx. 130 × 55 × 44 cm
Worn cotton-polyester socks purchased from a male seller on a Taiwanese online foot-fetish marketplace via Twitter; Tesla Model 3 synthetic leather seat components and a driver-side front fender panel, a foam-covered wooden platform, and a headrest sculpture incorporating resin-coated plastic and an actual Tesla headrest.
A video monitor displays footage of the seller inside a Tesla Model 3 at 1 a.m. in a quiet parking garage, wearing and removing the socks.
5.
🍒
2026
Sculpture and base dimensions: approx. 120 × 100 × 160 cm
Wall-mounted monitors: additional to sculpture dimensions
A complete outfit and accessories worn by and purchased from a Japanese online seller: a grey cable-knit zip-front cardigan with faux-fur trim, a grey pleated miniskirt, undergarments, black socks, black loafers and bag; epoxy resin, plastic, a steel armature supporting the outfit, a small round coffee table set on a wooden platform, and a Starbucks coffee cup.
A video monitor displays a looping montage of nine digital photographs and one short video provided by the seller, documenting the seller wearing the outfit in everyday settings.
A slideshow of archival photographs shows the clothing and its packaging against a white background, photographed after receipt and before the clothing was transformed into sculpture.
🍒
2026
Sculpture and base dimensions: approx. 120 × 100 × 160 cm
Wall-mounted monitors: additional to sculpture dimensions
A complete outfit and accessories worn by and purchased from a Japanese online seller: a grey cable-knit zip-front cardigan with faux-fur trim, a grey pleated miniskirt, undergarments, black socks, black loafers and bag; epoxy resin, plastic, a steel armature supporting the outfit, a small round coffee table set on a wooden platform, and a Starbucks coffee cup.
A video monitor displays a looping montage of nine digital photographs and one short video provided by the seller, documenting the seller wearing the outfit in everyday settings.
A slideshow of archival photographs shows the clothing and its packaging against a white background, photographed after receipt and before the clothing was transformed into sculpture.
6.
Lovers II (Yieldpoint)
2025 / Video duration: 2 min 24 sec
Sculpture dimensions: approx. 45.2 × 70.2 × 37.7 cm
Two pairs of worn tie-dye Nike Dri-FIT polyester crew socks purchased from a gay couple on a Taiwanese online foot-fetish marketplace via Twitter; steel, rust, resin, and an adjustable folding weight bench.
A video monitor displays footage of the sellers at a gym, wearing and removing the socks while interacting with each other.
Lovers II (Yieldpoint)
2025 / Video duration: 2 min 24 sec
Sculpture dimensions: approx. 45.2 × 70.2 × 37.7 cm
Two pairs of worn tie-dye Nike Dri-FIT polyester crew socks purchased from a gay couple on a Taiwanese online foot-fetish marketplace via Twitter; steel, rust, resin, and an adjustable folding weight bench.
A video monitor displays footage of the sellers at a gym, wearing and removing the socks while interacting with each other.
7.
Behind the Counter
2025 / Video duration: 2 min 17 sec
Sculpture dimensions: approx. 128 × 128 × 58.5 cm
Hysteresis installation: approx. 230 × 215 × 170 cm; configuration variable
Four pairs of worn polyester and cotton socks purchased from four female hotel employees through an intermediary on a Taiwanese online foot-fetish marketplace on Twitter; wood, plastic, polished-steel queue stanchions with two tiers of retractable fabric belts, and other mixed media.
A video monitor displays footage of the four sellers putting on and removing socks together in the hotel’s luggage room.
Behind the Counter
2025 / Video duration: 2 min 17 sec
Sculpture dimensions: approx. 128 × 128 × 58.5 cm
Hysteresis installation: approx. 230 × 215 × 170 cm; configuration variable
Four pairs of worn polyester and cotton socks purchased from four female hotel employees through an intermediary on a Taiwanese online foot-fetish marketplace on Twitter; wood, plastic, polished-steel queue stanchions with two tiers of retractable fabric belts, and other mixed media.
A video monitor displays footage of the four sellers putting on and removing socks together in the hotel’s luggage room.
作品清單：
1.
姊花懷影
2025 / 影像長度：4 分 36 秒
展示箱尺寸：約 68.5 × 68.5 × 57.5 公分
含洗衣推車的裝置尺寸：約 135 × 110 × 140 公分
兩雙曾穿過的聚酯纖維與棉質襪，購自一位自述為兩位姊妹的台灣跨性別女性，在她回應 Threads 上向戀足社群發出的公開徵集後，透過 Instagram 聯繫購得；木材、分光玻璃、燈光、兩部裝有飯店毛巾的飯店洗衣推車及其他複合媒材。
一部螢幕依序播放兩段影像，呈現兩位姊妹在賣家居所中穿著與脫下襪子的過程。
姊花懷影
2025 / 影像長度：4 分 36 秒
展示箱尺寸：約 68.5 × 68.5 × 57.5 公分
含洗衣推車的裝置尺寸：約 135 × 110 × 140 公分
兩雙曾穿過的聚酯纖維與棉質襪，購自一位自述為兩位姊妹的台灣跨性別女性，在她回應 Threads 上向戀足社群發出的公開徵集後，透過 Instagram 聯繫購得；木材、分光玻璃、燈光、兩部裝有飯店毛巾的飯店洗衣推車及其他複合媒材。
一部螢幕依序播放兩段影像，呈現兩位姊妹在賣家居所中穿著與脫下襪子的過程。
2.
盈月
2025 / 影像長度：1 分 56 秒
雕塑尺寸：約 60 × 60 × 45 公分
雕塑與基座尺寸：約 85 × 75 × 145 公分
曾穿過的棉與聚酯纖維襪，透過 Twitter 上的台灣腳控市集向一位懷孕的母親購得；塑膠、環氧樹脂、鋼、以鋼製骨架及真空密封的衣物與毯子構成的基座，以及其他複合媒材。
一部螢幕播放賣家在臥室中穿脫襪子的影像。
盈月
2025 / 影像長度：1 分 56 秒
雕塑尺寸：約 60 × 60 × 45 公分
雕塑與基座尺寸：約 85 × 75 × 145 公分
曾穿過的棉與聚酯纖維襪，透過 Twitter 上的台灣腳控市集向一位懷孕的母親購得；塑膠、環氧樹脂、鋼、以鋼製骨架及真空密封的衣物與毯子構成的基座，以及其他複合媒材。
一部螢幕播放賣家在臥室中穿脫襪子的影像。
3.
戀人 III（柔山供）
2025 / 影像長度：2 分 11 秒
雕塑尺寸：約 107 × 75 × 54 公分
裝置尺寸：約 120 × 110 × 180 公分；依展場配置而異
兩雙曾穿過的磁吸情侶襪，材質為棉與聚酯纖維，透過 Twitter 上的台灣腳控市集向一對年輕父母購得；好奇嬰兒濕紙巾、環氧樹脂、塑膠、木材、鋁材、承載雕塑與木雕神像及龍雕的多色家用塑膠抽屜櫃，以及其他複合媒材。
一部螢幕播放賣家做家務、彼此互動後脫下襪子的影像。
戀人 III（柔山供）
2025 / 影像長度：2 分 11 秒
雕塑尺寸：約 107 × 75 × 54 公分
裝置尺寸：約 120 × 110 × 180 公分；依展場配置而異
兩雙曾穿過的磁吸情侶襪，材質為棉與聚酯纖維，透過 Twitter 上的台灣腳控市集向一對年輕父母購得；好奇嬰兒濕紙巾、環氧樹脂、塑膠、木材、鋁材、承載雕塑與木雕神像及龍雕的多色家用塑膠抽屜櫃，以及其他複合媒材。
一部螢幕播放賣家做家務、彼此互動後脫下襪子的影像。
4.
夜骨盤
2025 / 影像長度：2 分 15 秒
雕塑尺寸：約 130 × 55 × 44 公分
曾穿過的棉與聚酯纖維襪，透過 Twitter 上的台灣腳控市集向一位男性賣家購得；Tesla Model 3 合成皮革座椅部件與駕駛座側前葉子板、包覆泡棉的木製平台，以及結合樹脂包覆的塑膠與實際 Tesla 座椅頭枕製成的頭枕雕塑。
一部螢幕播放賣家於凌晨一點，在寂靜的停車場內坐在 Tesla Model 3 車內穿著與脫下襪子的影像。
夜骨盤
2025 / 影像長度：2 分 15 秒
雕塑尺寸：約 130 × 55 × 44 公分
曾穿過的棉與聚酯纖維襪，透過 Twitter 上的台灣腳控市集向一位男性賣家購得；Tesla Model 3 合成皮革座椅部件與駕駛座側前葉子板、包覆泡棉的木製平台，以及結合樹脂包覆的塑膠與實際 Tesla 座椅頭枕製成的頭枕雕塑。
一部螢幕播放賣家於凌晨一點，在寂靜的停車場內坐在 Tesla Model 3 車內穿著與脫下襪子的影像。
5.
🍒
2026
雕塑與基座尺寸：約 120 × 100 × 160 公分
壁掛螢幕另計，不包含於上述尺寸
購自一位日本網路賣家、由其穿用的整套服裝與配件：灰色麻花針織拉鍊開襟衫（附仿毛飾邊）、灰色百褶短裙、內著、黑色襪子、黑色樂福鞋與包袋；環氧樹脂、塑膠、支撐服裝的鋼製骨架、木製平台上的小圓茶几及星巴克咖啡杯。
螢幕循環播放由賣家提供的九張數位照片與一段短片剪輯而成的影像，呈現其在日常場景中穿著該套服裝的樣貌。
另以幻燈影像呈現收件後、衣物轉化為雕塑前，以白色背景拍攝的衣物與包裝檔案照。
🍒
2026
雕塑與基座尺寸：約 120 × 100 × 160 公分
壁掛螢幕另計，不包含於上述尺寸
購自一位日本網路賣家、由其穿用的整套服裝與配件：灰色麻花針織拉鍊開襟衫（附仿毛飾邊）、灰色百褶短裙、內著、黑色襪子、黑色樂福鞋與包袋；環氧樹脂、塑膠、支撐服裝的鋼製骨架、木製平台上的小圓茶几及星巴克咖啡杯。
螢幕循環播放由賣家提供的九張數位照片與一段短片剪輯而成的影像，呈現其在日常場景中穿著該套服裝的樣貌。
另以幻燈影像呈現收件後、衣物轉化為雕塑前，以白色背景拍攝的衣物與包裝檔案照。
6.
戀人 II（屈服點）
2025 / 影像長度：2 分 24 秒
雕塑尺寸：約 45.2 × 70.2 × 37.7 公分
兩雙曾穿過的紮染 Nike Dri-FIT 聚酯纖維中筒襪，透過 Twitter 上的台灣腳控市集向一對同志情侶購得；鋼、鐵鏽、樹脂及可調式折疊健身臥推凳。
一部螢幕播放賣家在健身房中穿著襪子、彼此互動並脫下襪子的影像。
戀人 II（屈服點）
2025 / 影像長度：2 分 24 秒
雕塑尺寸：約 45.2 × 70.2 × 37.7 公分
兩雙曾穿過的紮染 Nike Dri-FIT 聚酯纖維中筒襪，透過 Twitter 上的台灣腳控市集向一對同志情侶購得；鋼、鐵鏽、樹脂及可調式折疊健身臥推凳。
一部螢幕播放賣家在健身房中穿著襪子、彼此互動並脫下襪子的影像。
7.
檯後
2025 / 影像長度：2 分 17 秒
雕塑尺寸：約 128 × 128 × 58.5 公分
《遲滯》裝置尺寸：約 230 × 215 × 170 公分；依現場配置調整
四雙曾穿過的聚酯纖維與棉質襪，透過 Twitter 上的台灣腳控市集經中間人向四位女性飯店員工購得；木材、塑膠、具上下兩層伸縮織帶的拋光鋼製排隊欄柱，以及其他複合媒材。
一部螢幕播放四位賣家在飯店行李間一同穿著與脫下襪子的影像。
檯後
2025 / 影像長度：2 分 17 秒
雕塑尺寸：約 128 × 128 × 58.5 公分
《遲滯》裝置尺寸：約 230 × 215 × 170 公分；依現場配置調整
四雙曾穿過的聚酯纖維與棉質襪，透過 Twitter 上的台灣腳控市集經中間人向四位女性飯店員工購得；木材、塑膠、具上下兩層伸縮織帶的拋光鋼製排隊欄柱，以及其他複合媒材。
一部螢幕播放四位賣家在飯店行李間一同穿著與脫下襪子的影像。