My sculpture Lamp aims to convey the subtle emotional exchanges between my mother and me in our daily lives. When I think of my mother, the first image that comes to mind is her reading to me by the lamplight at the head of my bed. Countless nights were spent this way, and these moments were crucial in my upbringing. From fairy tales in my youth to philosophical works like Wittgenstein as I grew older, my mother’s reading remained a constant. Even today, when I occasionally fall asleep next to her, she still reads to me. For this sculpture, I reused the old clothes my mother gave me, and sewed them into the shape of a lamp. Connecting the garments with buttons, symbols of female identity, not only signifies my gender but also reflects the intimate bond I share with my mother.

I believe that creation can serve as a form of healing, a means of repairing and stitching together both bodies and emotions. It allows individuals to bridge the gaps and overcome feelings of detachment. I chose the themes of the body and memory not consciously, but because they are universal experiences shared by all. They represent the authenticity inherent in each person’s unique journey.

我的雕塑作品《台灯》，旨在表达我与母亲日常生活的细微情感交流。当我回忆起母亲，最先想起的是她在床头在灯光下为我读书的场景。

无数无数个夜晚都是这样与母亲度过，这是我成长过程中十分重要的时刻。我年幼时母亲为我读童话，稍长时她为我读维特根斯坦。直至今日我偶尔回到她身边与她共眠时她依旧会为我读书。我选用了母亲赠予我的她昔日的旧衣物，将衣物重新缝合剪裁制作成台灯的形态，用带有女性身份特征的内衣扣做连接，即表明了女性的身份也体现了我与母亲亲昵的关系。我认为很多时候创作是在治疗，是在试图修补，是在缝合人们的身体与情感。人们被剥开那些被分开与被分离的状态。我选择身体与回忆作为主题，不是有意识的，而是因为它是我们所有人都共享的一种形式；它是每个人都有自己真实经验的东西。