Mixed-media installation | Dimensions variable.
curtain, paper, toilet paper, semen.
自2019年開始，我持續蒐集每一次手淫後使用的衛生紙，將這些原本應被丟棄的私密遺留物轉化為一種長期屯積的物質記錄。經過日復一日地保存，堆積成場——直視其量變與質變。
在展場中，這些揉皺的衛生紙堆積在半透明的窗簾後方，形成一個看似輕柔卻極度封閉的空間——一個既內部又暴露、既遮蔽又可見的房間。這件作品是對慾望與身體的時間性追問。每一團紙都是一次行動的終點，也是一種存在被壓縮後的證據；攜帶著反覆、生產、清除的節奏。
身體行為的殘留物成為一種遺骸般的存在證詞。透過時空的沉澱、拉長、堆積、發酵，最終成為觀看的風景。既是對肉身經驗的凝視，也是對形式生命可能性的一種守靜。它質疑日常中的隱蔽行為如何透過展示，重新奪回主體與記憶的空間。
在展場中，這些揉皺的衛生紙堆積在半透明的窗簾後方，形成一個看似輕柔卻極度封閉的空間——一個既內部又暴露、既遮蔽又可見的房間。這件作品是對慾望與身體的時間性追問。每一團紙都是一次行動的終點，也是一種存在被壓縮後的證據；攜帶著反覆、生產、清除的節奏。
身體行為的殘留物成為一種遺骸般的存在證詞。透過時空的沉澱、拉長、堆積、發酵，最終成為觀看的風景。既是對肉身經驗的凝視，也是對形式生命可能性的一種守靜。它質疑日常中的隱蔽行為如何透過展示，重新奪回主體與記憶的空間。
Since 2019, I have been collecting every tissue used after masturbation, transforming what would otherwise be discarded private remnants into a long-term accumulation of material records. Preserved day after day, these objects gradually amass into a site—confronting both their quantitative growth and qualitative shift.
In the exhibition space, the crumpled tissues are piled behind a sheer curtain, forming a space that appears soft yet is densely sealed—a room that is at once interior and exposed, concealed and visible. The work poses a question about the temporality of desire and the body. Each piece of tissue marks the end of an act, and simultaneously serves as compressed evidence of a form of existence, bearing the rhythms of repetition, production, and disposal.
The bodily remains become a kind of spectral testimony. Through processes of temporal sedimentation, extension, accumulation, and fermentation, they are eventually transformed into a scene for viewing. This is not only a gaze upon corporeal experience, but also a quiet vigil for the possibilities of form-of-life. It questions how the hidden gestures of everyday life, when exhibited, might reclaim space for subjectivity and memory.
In the exhibition space, the crumpled tissues are piled behind a sheer curtain, forming a space that appears soft yet is densely sealed—a room that is at once interior and exposed, concealed and visible. The work poses a question about the temporality of desire and the body. Each piece of tissue marks the end of an act, and simultaneously serves as compressed evidence of a form of existence, bearing the rhythms of repetition, production, and disposal.
The bodily remains become a kind of spectral testimony. Through processes of temporal sedimentation, extension, accumulation, and fermentation, they are eventually transformed into a scene for viewing. This is not only a gaze upon corporeal experience, but also a quiet vigil for the possibilities of form-of-life. It questions how the hidden gestures of everyday life, when exhibited, might reclaim space for subjectivity and memory.
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