不厭其煩地重複說過的話。說話着重現在，寫作則着重未來，近來我總是想透過話語來豐富生活。現在，話語的不單調企圖擴張一件事情和感受的極限，透過濃物的描寫（thick descriptions)*去全心全意地感受衰敗—-衰敗的經濟體、離落人群、廢棄之物。當中有輕巧的臨時建築也有年老的身體，混合着活膩的感覺混合着前所未見的新事物譬如，亞熱帶地區沒有的雪、發現世代間張開隱密狹縫的表演者、製造者和觀察者。然後造就了詩篇裏面的生機，由話語擴展，收縮再擴展後便成了寫作。這幾篇是一個開始，我計劃不斷書寫，將篇章完善，將細節通通攤開給你。
*《物見：四十八位物件的閱讀者，與他們所見的世界》
書入面講到描述物件使用的thick descriptions ，比起客觀精要的描述，更重視觀察與收集大量表面上沒有關係的細節，並說明學者是有可能發現這些細節間的內在關聯與其共組的象徵系統。p.13
Repeating words without tiring of it. Speaking emphasises the present, writing emphasises the future; lately I've sought to enrich life through language. Now, these “speaking” refuses to be monotonous, it strives to expand the limits of events and sensations ,immersing itself wholly in decay through thick descriptions* and Chinese Fu( 賦）** —decaying economies, scattered crowds, abandoned objects. Here lie both lightweight temporary structures and aged bodies, blending a weariness of life with unprecedented novelties—such as snow absent from subtropical regions, performers revealing hidden fissures between generations, makers and observers. Thus emerges the vitality within these verses: words expand, contract, and expand again, becoming writing. These pieces mark a beginning. I intend to write continuously, combining the narratives into something that compresses Zeitgeist ,artistic observation and sentiments based on the experiences and observations in Hong Kong.
This work has been presented in the show “ Manifold” at Yrellag Gallery. It was a 2 hour performance ,where the artist stood inside a temporary structure built with black Xuan Paper, later she started to burn the Xuan Paper with incense sticks and stood on an automated turntable and recited the writings. After the performance, she turned the temporary structure into an installation in which the audience could interact with the silver containers and the recording of the recitation will start playing once the audience opens the lid.
*Thick descriptions: In the book “Seeing: 48 Object Readers and Their Worlds”, there is a line discussing “thick descriptions” in object portrayal, prioritising observation and gathering seemingly unrelated surface details over objective conciseness. It demonstrates how scholars may uncover intrinsic connections between these details and the symbolic systems they collectively form. P.13
**Fu( 賦: Fu (賦）in English is most commonly translated as "rhapsody". It is a form of ancient Chinese literature that combines prose and poetry, characterized by its descriptive and ornate language.
物的震盪 The light tremor in Things °‧
2025 duration 2 hour
𒅒𒈔𒅒𒇫𒄆 𒅒𒈔𒅒𒇫𒄆
to read more : 物的震撼雜談 redirecting you to another page :)
朗讀短文摘錄
我喜歡一個木製的分體雕塑
一塊芒果核大小的木片
和另一條長木枝環繞著一個橢圓形的球狀物
還有橄欖形的身體
所有的部件隨時能夠被分拆開來
對於這樣的存在感到神奇
想到畫廊的主人難道不會有想去黏合所有部件的衝動嗎
也想到分體雕塑被移動時七零八落的
如果遠看會以為有一個旅人在抱著一堆從針葉樹下收集回來的雜木
………………………………………………………..……摘錄自 D的分體雕塑........................
破除那些牆，完完全全地打通一個建築物。就像雪落，所有道路皆成一條道路。區隔沒有了，可以清楚看見人的痕跡。開創從何而來，構築從何以來，紛擾的事從何而來，又準備在那處消失。
……………………………………………………………….…摘錄自 空室 50%........................
他快要忘記自己貪錢潑辣的個性，未忘記自己要長命百歲的心願，先是忘記手機號碼，也忘記了怎樣回家，也忘記了怎樣分辨家和老人院，自然也忘記他討厭老人院和討厭吃無味的豆腐（他總說呃鬼食豆腐），自然也忘記了為什麼出生，為什麼留下，忘了忘記這回事。好像越來越輕盈。好像一棵已經枯萎但拒絕死亡的植物。屋企人好像一派輕鬆的面對婆婆身體上的退化，我才知道無病無痛嘅人可以因為疏於訓練而失去所有活動機能。
…………………………………………………….…摘錄自 殘破的身體（婆婆）........................
我拓印過一部即棄相機。拓印過一部大風扇。我坐在家中拓印小時侯的居所，那是我們第一個家，用簿紙鋪墊在木地板，拓印木的紋路，鋪墊在血燈色梳化，那裡會有長久使用的摺痕和略嫌粗獷的動物紋，拓印廁房的雲石花牆和整套櫥櫃套裝也不覺累贅......
………………………………………………………….……摘錄自 拓印..................................
打開地圖，我繞道到另一邊觀看它。在外圍走動的時候，刻意拉長步行時間去經歷它，如喬迅（Jonathan Hay)以身體經驗紫禁城，把這個龐大的建築當作器物般體驗*。在外圍，肆意生長的藤蔓和植物被打理得剛剛好，不會覆蓋過牆板，但已經輕巧地和外面的世界隔開一個距離。
………………………………………………………….……摘錄自 方艙醫院..................................