我的雕塑作品《臺燈》，旨在表達(dá)我與母親日常生活的細(xì)微情感交流。當(dāng)我回憶起母親，最先想起的是她在床頭在燈光下為我讀書的場景。無數(shù)無數(shù)個夜晚都是這樣與母親度過，這是我成長過程中十分重要的時刻。我年幼時母親為我讀童話，稍長時她為我讀維特根斯坦。直至今日我偶爾回到她身邊與她共眠時她依舊會為我讀書。我選用了母親贈予我的她昔日的舊衣物，將衣物重新縫合剪裁制作成臺燈的形態(tài)，用帶有女性身份特征的內(nèi)衣扣做連接，即表明了女性的身份也體現(xiàn)了我與母親親昵的關(guān)系。

我認(rèn)為很多時候創(chuàng)作是在治療，是在試圖修補(bǔ)，是在縫合人們的身體與情感。人們被剝開那些被分開與被分離的狀態(tài)。我選擇身體與回憶作為主題，不是有意識的，而是因為它是我們所有人都共享的一種形式；它是每個人都有自己真實經(jīng)驗的東西。

My sculpture “Lamp” aims to express the subtle emotional exchanges between me and my mother in our daily life. Whenever I think of my mother, the first thing that came to my mind is her reading to me in the lamplight by the head of the bed. I spent countless nights like this with my mother, and it was a very important moment in my growing up. My mother read me fairy tales when I was young and Wittgenstein when I was older. To this day she still reads to me when I occasionally come back to sleep with her. I chose the old clothes my mother gave me and stitched them back into the shape of a lamp. I connected the clothes with the buttons of female identity, which indicated my female identity and also reflected my intimate relationship with my mother.

I think a lot of times creation is healing, it's trying to mend, it's stitching people's bodies and emotions together. People are stripped of those states of being separated and detached. I chose the body and memory as a subject, not consciously, but because it is a form that we all share; it is something that everyone has their own real authentic with.