一塊台灣陶土，無保護地寄往外國展場。該土為性愛時緊握之手的殘留。
為預防潛在風險，土壤（除了未被有機物污染的土，如陶土）須授權才得進口。受傑基．阿梅茲奎塔《天空之下大地相同》（2024）啟發，作品藉「賦予生命」連結土地、女性、雕塑，體現生命痕跡如何被速度（流動性）和規範（海關／郵政規定）抹去，以及攝影如何錯過對象，卻是我們所擁有的一切。
／
A piece of Taiwan clay sent to foreign exhibition venue without protection. It is the remnant of clenched hand during sex.
To prevent potential risks, soil needs authorization before importation, unless it is soil material that is not contaminated by organic matter, like clay. Inspired by Jackie Amézquita’s bajo el cielo sobre el mismo suelo* (2024), the work connects land, woman, sculpture through the idea of “giving life,” embodying how traces of life are erased in speed (mobility) and norms (customs/postal regulation), and how photography fails to capture the object, yet is all we have.
*under the sky on the same land