How I responded to the sentence life had pronounced upon me. How I used my body to transform clay into ceramics, weaving out a personal path — one that begins from the body and reaches toward an energetic, lively zone that is both astonishing and intimate.

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This series confronts individual bodily states and memories of the flesh. How to summon potential emotional drives through the process of creation is the path I continue to explore. In my ceramic practice, what I repeatedly experiment with is a state of “things coiling around one another.” I believe that, in everyday life, “consciousness, body, and materials” can be given a new set of sensory experiences, restructured through the process of ceramic creation. It is like a reunion with an unknown self. Subject, body, and clay seem to deliberately cross beyond the logic of skin, organs, and tissue, as if slicing open a membrane whose function is to separate and protect. It is both active and passive; permeable and impenetrable.

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“I entered the body through the mouth and slid out through its canals. Isolated 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 sweetness, sourness, and bitterness, I dragged myself through the canals, dripping with juice.”

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Therefore, Personal Tortuous History of Flesh is about transformations gathering together and then emerging all at once. It is like a garden where fruit ripens and softens after being plucked. The garden emits a scorching order. Although this scenery guides one toward individual inner experiences, there is a shared condition of life at its deepest point — the difficulty of rendering or self-managing bodily states through reason.