The Bloom That Holds Her Shadow
2025
Display box dimensions: approx. 68.5 × 68.5 × 57.5 cm
Hysteresis 2026: installation with laundry carts approx. 135 × 110 × 140 cm; configuration variable
Monitor dimensions: 35.5 × 23 cm
Video duration: 4 min 36 sec
Two pairs of worn polyester and cotton socks purchased through a Taiwanese foot fetish marketplace on Twitter from a trans woman who described herself as two sisters; wood, beam-splitting glass, lighting and other mixed media. For the NCCU presentation, hotel laundry carts filled with towels were incorporated into the installation.
Two consecutive recordings show the seller wearing and removing each pair of socks at home.
Originally commissioned by Taipei Biennial 2025.
Exhibition: Hysteresis, NCCU Arts & Culture Center, Taipei, 2026.
The Bloom That Holds Her Shadow began with a response to an open call to purchase worn socks. Initially withholding personal details, the seller soon began sharing her background and reasons for selling. She spoke alternately as two sisters, each addressing the conversation in her own voice and talking about the other. Through the exchange, two distinct voices emerged, recounting different experiences of a shared life.
The sculpture gives one pair of socks to each sister. Hardened into curved, upright forms, they stand at opposite ends of a wooden enclosure. Beam-splitting glass creates a Pepper’s Ghost illusion, bringing the reflection of one form into the space of the other. As the viewer changes position, the two appear to overlap and embrace. Their encounter takes place in the glass, where physical separation becomes an image of touch.
For Hysteresis, hotel laundry carts filled with towels surround and support the enclosure. Their inclusion grew from the seller’s account of working as a hotel cleaner, a job she liked because it involved little interaction with others. The towels introduce another kind of bodily trace: fabrics pressed against strangers, gathered, washed and returned to use. Where the purchased socks preserve a connection to one particular wearer, hotel laundry passes between bodies whose identities disappear in its circulation. Above this accumulation, the two sock forms remain suspended in an apparent embrace, bringing an elusive image of closeness into the materials of work performed at a distance from others.
姊花懷影
2025
展示盒尺寸：約 68.5 × 68.5 × 57.5 公分
《遲滯》2026：含洗衣推車之裝置尺寸約 135 × 110 × 140 公分；依現場配置調整
螢幕尺寸：35.5 × 23 公分
影片長度：4 分 36 秒
透過台灣 Twitter 戀足交易市場，向一位以兩姊妹身分自述的跨性別女性購得兩雙穿過的聚酯纖維與棉襪；木材、分光玻璃、燈光及其他複合媒材。於政大展出時，裝置另加入裝滿毛巾的飯店洗衣推車。
兩段接續播放的影像，分別記錄賣家在家中穿上與脫下兩雙襪子的過程。
原為 2025 台北雙年展委託創作。
展覽：《遲滯》，國立政治大學藝文中心，台北，2026。
《姊花懷影》始於賣家對一則收購穿用襪子的公開徵求所作的回應。起初，她不願透露個人細節，隨後逐漸談起自己的背景與販售的原因。她交替以兩姊妹的身分說話，各自以自己的口吻參與對話，也談論另一人。往來之中，兩個分明的聲音逐漸浮現，訴說著共同生活中的不同經驗。
雕塑將一雙襪子分予每位姊妹。襪子經硬化後，形成彎曲、直立的形體，分置於木製展示盒的兩端。分光玻璃運用「佩珀爾幻象」的光學原理，使一個形體的倒影進入另一個形體所在的空間。隨著觀者位置改變，兩者看似重疊、相擁。這場相遇發生在玻璃之中，讓實際的分離化為觸碰的影像。
於《遲滯》中，裝滿毛巾的飯店洗衣推車環繞並支撐展示盒。這項安排源於賣家談及自己在飯店從事清潔工作，喜歡這份工作是因為不太需要與人互動。毛巾帶入另一種身體痕跡：布料曾貼近陌生人的肌膚，隨後被收集、清洗，再次投入使用。購得的襪子維繫著與特定穿用者的聯繫，飯店布巾卻在不同身體之間流轉，使用者的身分隨之隱去。在這層層堆積之上，兩個襪形仍懸於彷彿相擁的姿態，讓難以捉住的親近影像，浮現在一份刻意與他人保持距離的日常勞動之中。
