How I responded to condemnation that life pronounced. How I used my body to transfer clay into ceramics and weaved out a personal path — starting from the body, going all the way to an energetic and lively zone that is so astonishing yet so intimate.

This series faced individual body states and flesh memory. How to call potential emotional driving through the process of creation is the path I keep exploring. For ceramics creation, what I repeatedly experiment with is a state of "things coiling around each other." I believe that "consciousness, body, and materials" in everyday life could be given a new set of sensory experiences restructured during the process of creating ceramics. It's just like a reunion with your unknown self. Subject, body, and clay bodies seem to intentionally cross beyond the logic in skin, organs, and tissue, as well as to slice open a membrane whose function is to separate and protect. It's both proactive and passive; permeable and impenetrable.

"I entered the body through the mouth and slid out through canals. Isolate images of the body piled up layer by layer. I folded petals and leaves along the gaps and let them expand. I sank into the pulp and skin of the fruit. After tasting sweet, sour, and bitter, I dragged myself through the canals, dripping with juice.”

Therefore, Personal Tortuous History of Flesh is about transformations gathered together and then coming out all at once. It's like a garden where the fruit ripens and softens after being plucked. The garden emits a scorching hot order. Although this scenery guides you to individual inner experiences, there is a general life condition in the deepest place — it is difficult to use reason to render or self-manage body conditions, so let's talk with fingertips, gulp with eyeballs.