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A Transparent Moment
Video Installation, 2021
Wine glasses, 52 inch LCD TV, glass panel, water beads. 4’32’’.
The moving image seeks to explore the dogmatic distinctions and rules that exist between consumer culture and the established image of women. It highlights the narrative inherent in the transparent material itself, liberating the symbolism of the crystal coffin from fixed contexts or functions.
The visuals follow the narrative thread of mining raw crystals, transitioning to chemical formulas rendered in other translucent materials, interspersed with carefully curated product images relating to Swarovski crystals and crystal coffins. Through appropriation and re-creation, it incorporates fragments drawn from existing films and animations depicting women entering and exiting coffins, thereby encapsulating what Julia Kristeva termed Women’s Time.
The crystal coffin, capable of halting time, is embedded within the cyclical flow of women’s time. Marginalised women who entered these spaces utilised the absorptive properties of crystals and the enclosed environment to heal their hysteria, escape the burden of childbearing, and protect their sense of self. You constantly knock on the glass uterus, causing the sealed liquid to make a soft sound of water, as you explore the possibility of turning the tide and mounting a resistance.
这段影像试图触碰萦绕在消费文化与女性固有形象之间教条般的差异和规则，凸显透明材料本身的叙事，将形象符号从固定的语境或功能中解放。
画面内容跟随挖采水晶原石的动作线索，转接其他通透材质的化学式，穿插经过逐一编排的、有关施华洛世奇水晶与水晶棺材的商品图片。它通过挪用再创作，从提取现成的电影与动画中女性进入和走出棺材的行为而来的片段，囊括着朱莉娅·克里斯蒂娃所提出的“女性时间”。
能令时间暂停的水晶棺材，附着在循环往复的女性时间里。进入其中的边缘女性使用水晶带来的吸收功效和幽闭环境，疗愈歇斯底里，逃避生育与守护自我。你不断敲击玻璃子宫，使被封存的液体发出水声的轻响，叩问着扭转局面进行反抗的可能。
Walking a Tightrope on a Glass Cliff
Soft sculpture, 2022
Iron wires, clear plastic beads, elastic crystal lines. 235*125 cm.
Through the arrangement of the beads, the installation explores the significance and meaning of the interior space of the crystal coffin within the sequence of women’s time. A hammock woven from transparent beads and suspended in the centre of the exhibition hall demands the attention of visitors and invites their participation. Modelled on a standard outdoor hammock, it is positioned at a height roughly equivalent to the audience’s waist, giving the impression that one could simply turn sideways and lie down in it. Directly beneath the installation, a screen showing moving images is situated within a space formed by a glass panel resting flat on wine glasses at its four corners, with elastic, water beads scattered around the perimeter.
The relatively enclosed exhibition space is viewed as the interior of a coffin, whilst the hammock is imagined as a component designed to support the body—it could serve as a pillow or a sheet. Consequently, this form presupposes an experience of entering a coffin: you would not necessarily be sleeping peacefully inside it, but could also be awake.
The transparent materials allow for a two-way flow of sight between the interior and exterior, enabling you to boldly question and challenge the status quo. A hammock of a certain height helps break away from the traditional rule of positioning it for easy viewing. You are no longer in a subordinate position, constrained by scrutiny, but have begun to observe proactively.
以串珠的排列，这件作品推演着在女性时间的序列下，水晶棺材内部空间的意涵。
由透明材质的串珠拼织而成的吊床，悬挂在展厅中央，向来宾索要着注意力和参与度。它模拟着寻常户外吊床的样式，被安置在与观众半身相当的高度，仿佛侧身即可翻躺而上。装置垂直的正下方，一个播放着移动影像的屏幕，被平放在四角由玻璃杯支撑着玻璃板而构造的空间里，有弹性的遇水膨胀球分散在四周。
较为封闭的展览空间被视为棺材的内部环境，吊床被想象成用于承载身体的部件，它会是枕头，或是床单。因此，这种形式假定了一次进入棺材的体验，你不会一直安睡其中，也可以是清醒的。于是，你的姿态将发生改变：翻身、趴着、侧身，而非一成不变地面朝棺材开启的方向。
通透材质使内外的视线实现了双向的传达，你得以大胆地进行质疑和挑战。具有一定高度的吊床利于打破方便瞻仰的传统摆放规则，你不再居于下位，受困于审视，而开始主动地观察。
The Closing of the Crystal Coffin
Publication, 2026
Coated paper. 210*140*5 mm.
This piece of writing is a companion to the installation, further elaborating on the central topic and research materials.
The text presents a price comparison of several types of transparent materials, highlighting the hierarchy that generally prevails in the commodity market, whereby the lowest-priced materials are used to facilitate mass production. However, making crystal coffins is likewise based on this kind of selection process, which has led to an increase in their symbolic significance and a reduction in their materiality. The logic of consumption is driven by sales volume, and production activities centred on the actual crystal coffins have long since moved beyond the style depicted in fairy tales.
Drawing on the narrative in Qiu Miaojin’s book, Notes of a Crocodile, the text foreshadows the fact that the crystal coffin will serve as a weapon against linear time. It compares the differences in meaning between the original English title and the Chinese translation of the film Mad About Men (1954), highlighting the crystal coffin’s ability to purify and dispel hysteria. Taking the form and functioning of the glass uterus as an example, it draws a parallel with the poetic discourse evoked by Poem from the Glass Womb, likening it to the independent voice of women. By providing a detailed account of the reasoning behind women’s refusal to enter the stream of time, the text aims to offer readers a comprehensive guide to active resistance.
文中呈现了几种通透材质的价格对比，勾勒出普遍笼罩在商品市场中的等级现象，即以价格最低的材料，来实现批量生产。然而，制造水晶棺材同样基于此类筛选流程，这导致了水晶棺材符号性的增强与物质性的减弱。商品逻辑被销量所驱动，围绕着水晶棺材原物的生产活动，也早已突破童话所描绘的样式。
源于邱妙津《鳄鱼手记》的叙事，这段文字预示着水晶棺材将会作为对抗线性时间的武器。它参照了电影《水晶宫主》的英文原名Mad About Men (1954)与中文译名含义上的差异，突出水晶棺材净化和消解歇斯底里的功效；以玻璃子宫的形态和运作方式为例，关联《玻璃子宫的诗》所唤起的诗性话语，类比女性独立的声音。通过详细地追踪女性拒绝进入时间之流的推导思路，文本旨在为观众提供完整的行动指南。