"Drop Hole" originates from a three-dimensional cutting technique—it refers to a tunnel-like structure that connects two openings. The greater the volume of the skirt, the more pronounced this structure becomes [1]. When fabric is draped over the body or a dress form, techniques such as cutting, folding, gathering, and stretching allow basic geometric forms to converge into a new entity. Within these constructed surfaces, a dynamic imagination of falling unfolds. For me, "Drop Hole" functions more as a model pointing toward dynamic boundaries.

My practice has gradually shifted from exploring bodily perception toward concrete, embodied labor. Among my methodologies, the circle, as a formal model, consistently draws my interest: it emerges as a transient form from the contact between body and material in performance videos; it is a structure I build through holes and spherical masses in sculpture; it is also the overlapping, curved lines I repeatedly trace in drawings. These practices continuously gather and disperse along arcs, allowing the significance of process and experience to manifest as traces.

In my work, fabric pieces, sketches on various papers, and fragmented objects or plant seeds collected from daily life are incorporated into the pieces through patchwork. The choice of this technique is inspired by my grandmother. I recall cushions, door curtains, and other household items at home often being meticulously hand-stitched by her from small fabric pieces or even plastic packaging. These materials were carefully washed, neatly sewn, and reassembled. This quotidian and gendered handiwork represents a form of daily creative practice that re-stitches individuality, time, materiality, the body, and memory.

Since 2020, I have begun combining intimate garments with materials like silicone, iron wire, and plaster to create porous, nest-like forms. Through the layering of different materials and patchwork, positive and negative spaces are generated within the works, simultaneously shaping their form and weight. Small, sharp objects such as steel needles, hair, or seeds are embedded into the soft, porous, nest-like "shells." These sculptures inhabit space in various postures, speaking of the dynamic boundary between wounding, protection, and defense.

[1] Tomoko Nakamichi, Pattern Magic, 2010.

The exhibition is supported by Studio Gallery