A Soft Resistance:
The unfinished body
A Soft Resistance ——
Embedded within the deeper strata of memory is a childhood photograph of myself, alongside a story about my mother—yet our recollections diverge. Perhaps memory itself has begun to fracture, or perhaps it is through the gradual formation of self-awareness that this dissonance emerges. I have enlarged the affect carried by this image, placing it within a tender, interior space—one I hesitate to touch, yet refuse to fully confront:
“All along, I believed I was resisting the external world, when in fact, I was also resisting the inner terrain of my own being.”
—— The Unfinished Body
The corporeal is not identical to the body; it is a condition in flux—capable of continuous transformation and emergence. Situated within a multidimensional field, it evolves across shifting perceptual and spatial registers, assuming forms that remain indeterminate. As a parallel temporal axis to Soft Resistance, it is at once resilient and unruly, expansive and somber. Its essence lies in remaining unfinished.
The “sensations” that are amplified here do not originate from the image itself, but from touch—an almost inarticulable, skin-proximate memory. It is warm, diffused, and indistinct, carrying with it a subtle tension of pressure and attachment. Like bodies not yet fully individuated, it becomes a mode of mutual recognition—an intimate threshold where presence is confirmed before separation takes place.
Within the spatial installation, the works unfold through a “maternal-filial” structure: two photographic images stand in quiet opposition, connected by a strand of fragile, materially specific assemblage. This connective element operates as an as-yet-unnamed relational system—one that pulls, extends, and sustains, while gradually revealing its own instability over time.
The image of the self dissolves within memory, no longer held by clear contours. Instead, it disperses into a diffused state, permeating the granularity of emotion, tactility, and temporality.
It resembles a trace repeatedly overlaid and erased—losing its center within accumulating strata of colour. The softness of pink, the intrusion of green, the cooling of blue: interwoven, entangled, yet never resolving into a stable or singular “self.”
柔软的抵抗—未完成的躯体
柔软的抵抗 ——
在深层记忆下，一张关于自己儿时的照片，一段与母亲相关的故事，我与她的描述各有不同，或许是我的记忆出了错乱，或许是自我意识的形成，我把这张照片的感觉放大了，放在内心一个柔软的角落里，那个我不敢轻易触碰又不肯承认的事实——
“一直以来，我以为我在抵抗外界，但其实也是对我内心世界的抵抗。”
—— 未完成的躯体
躯体和身体不⼀样，它是可以逐渐进化的，在多维度的场域⾥，不断变化⽣⻓，具有未知的形态，作为⼀条和“柔软的抵抗”的平⾏时空，它是坚韧的，野蛮的，壮丽的，阴郁的，未完成是它⼀直的状态。
那些被放大的“感觉”，并不是来自影像本身，而是来自触感——一种几乎无法被语言捕捉的、贴近皮肤的记忆。它是温热的、模糊的，带着轻微的压迫与依附，像是尚未分离的身体之间彼此确认存在的方式。
在空间中，这组作品以“子母”的方式展开—两张摄影作品相对而立，被一段具体而脆弱的综合材料所连接。这段连接像是一种尚未被命名的“关系组织”：它拉扯、延展、维系，同时也在时间中逐渐显露出其不稳定性。
自我的形象在记忆中消融，不再以清晰的轮廓存在，而是以一种弥散的状态，渗入到情绪、触感与时间的颗粒之中。
它像是被反复覆盖与擦除的痕迹，在一层层叠加的色彩里失去中心—粉色的柔软、绿色的侵入、蓝色的冷却，它们彼此交织，却始终无法构成一个稳定的“我”。