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In addition to creating small round raised textures inside the jar, I also tried a more natural and unprocessed wool form. I kept two pieces of wool in their original state, keeping them naturally fluffy, soft and with a casual texture. This texture, which has not been deliberately shaped by humans, forms a sharp contrast with the small round protrusions I have carefully designed inside - the former is a microscopic, controllable and regular sensation, while the latter presents a natural, casual and unpredictable tactile experience.

At the same time, I extended the wool from the internal space to the exterior of the ceramic, allowing some soft fibers to gently overflow from the mouth and sides of the can, as if breaking through the originally cold, hard and rational geometric boundaries. The exposed wool not only breaks the rigor and coldness of the ceramic appearance, but also gives the work a visual sense of warmth and vitality. When the audience touches it, they can not only sense the hidden softness within but also directly perceive the diffusion and extension of emotions through the wool that overflows from the outside - a metaphor that breaks through the disciplinary structure and touches the boundary between the self and the environment.

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This week, I finally completed the final product of my work and systematically filmed and recorded it. At this stage, I made the final confirmation of every detail: whether the edges of the ceramic geometry were clear, whether the texture of the surface glaze layer was uniform, and whether the texture and touch of the internal wool were presented as expected. With the overall completion of the work, I can clearly see the contrast between the external rational order and the internal soft world, as well as the subtle interactions among different textures, colors and tactile elements.

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Artist：Anais Gauthier

Anais Gauthier explores in her installations a hybridization between the organic and the industrial. She questions the contemporary mechanisms of care through the figure of a body-machine. His practice stages unstable production systems, close to rupture, made of metal frames and flesh, living organisms in emotional overheating. In this intimate and imperfect factory, the gears seem ready to come alive, but betray a profound wear and tear. It is a tenderness for failure that is expressed, a resilient persistence in the face of exhaustion.

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Artist：Jessica Westerberg

A compelling installation of glass, steel, and aluminum where organic, visceral forms confront rigid structures in a striking equilibrium. This work functions as a wordless metaphor for the tension between society's restrictive frameworks and our individual divergences, both physical and psychological. The blown glass embodies a profound resistance to conformity, revealing inner complexities and leaving the viewer in a state of heightened awareness.

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Artist：Chiharu Shiota

Chiharu Shiota's works are like a quiet and long-lasting dream, silently crossing the boundaries of time and space, and imperceptibly telling those forgotten, suppressed or unspoken stories. She uses lines as a medium - seemingly fragile yet highly tense materials - to transform invisible memories, emotions and states of existence into a spatial language with a material form.

In her installation, thousands of red, black or white wires, like neurons of emotions, are densely interwoven into complex webs. They surround, hang down, connect and Pierce through every element in the space, and also penetrate the body and consciousness of the viewer. Lines are not only physical connections but also a metaphor - they symbolize the invisible ties between people and represent the entanglements and tugs between individuals and their inner world.

The red line, as vivid as blood, often appears in her works. It not only evokes emotions, life and wounds, but also creates a strong visual impact and psychological tension. When the viewer enters the space she has constructed, it seems as if they have stepped into a maze interwoven with spirit and memory. Their steps become hesitant and their thoughts are drawn. Every time they gaze and walk through, it is an inner look back and exploration.

These Spaces composed of lines are no longer merely "places" in the physical sense; they are more like the externalization of a psychological space, an extension of the creator's personal experience, and also offer viewers the possibility of projection and resonance. Amidst these intricate web of wires, what we see is not merely the beauty of form, but also the fragility of human existence, the instinct for connection, and the continuous questioning of memory and self-awareness.

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Artist：Hillary Cumberworth

Each of Hillary's containers starts with a simple cylinder. Once the surface of these cylinders shows a tendency to harden, she manipulates the clay, adding curves, bends and other impressions that represent one or more moments in our lives

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This week, I began to work on the wool part inside the piece. When it comes to color selection, I finally decided to use white wool. The choice of white is not only a visual consideration but also a conceptual thought - white symbolizes the "original self" that has not been stained by social labels. Beneath the external disciplinary structure and social framework (i.e., geometric ceramics), there still lies an inner space that has yet to be defined, evaluated, or shaped, and this is precisely the part that the work hopes the audience will be reaware of.

When the audience reaches into the interior of the ceramic and touches the white wool, this action itself becomes a symbolic psychological exploration. What they touch is not some material endowed with meaning, but a "pure feeling", as if beneath the layers of structural shells of real life, they have once again touched an unadorned and unregulated self. The softness, fineness and transparent texture of the white wool further enhance this experience, allowing the audience to search for that original and true inner part through touch in the dark and enclosed interior space.

By using white wool, I hope the interior space will present a quiet, soft and almost "nascent" atmosphere, contrasting it with the cold and hard ceramic on the outside. It is precisely in this dual contrast of touch and symbolic meaning that the audience can feel more profoundly that the true self may always exist, but is often covered by social structure. Under the guidance of touch, they can approach that deeply buried "self-core" again.

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This week, when I took out the glaze jar that had been re-mixed last week to continue using it, I unexpectedly found a large number of densely packed black dots on the surface of the glaze. I was very puzzled about this and immediately consulted the technicians about the situation. After their explanation, I learned that these black spots were formed due to the chemical reaction between some metal components in the glaze and the clay during the high-temperature firing process at 1260 degrees, thus generating these tiny black particles. If I don't want these black spots to appear on the final glaze surface of the work, the technician suggests that I can reapply a new layer of glaze and adjust the next firing temperature to a lower 1060 degrees to avoid similar chemical reactions from happening again. Through this experience, I have gained a more intuitive understanding of the changes in high-temperature glazing and the reactions between glaze components.

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New concept：

My works stimulate the audience's reflection on the relationship between the self and social structure through the sense of touch. Geometric ceramics represent the external social order and norms, while wool symbolizes inner emotions and true feelings.

The audience needs to actively "touch into" the interior of the works to perceive the hidden softness and warmth, thereby exploring the process of individuals seeking their true selves in the contemporary environment.

Through this work, I hope that viewers will not only experience the contrast and interaction between these two materials, but also through the differences in touch between cold and warm, hard and soft, re-examine their own position within the social structure and personal feelings: Can we still hear the soft echoes from within? Are we still willing to touch the truest version of ourselves?

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In this creation, I attempted to use a large earthenware pot as a medium to abstractly represent the structure of the upper body of the human body. This earthenware pot is no longer a container in the traditional sense, but a symbolic "body". Through my exploration of the proportion of the form, the direction of the lines and the surface texture, I have endowed it with an existence that is both weighty and full of tension. It is not a realistic reproduction of the body, but rather a perceptual capture and reconstruction of its structure, strength and vulnerability.

More importantly, I hope this earthenware pot can be suspended in the air, freeing it from the stability and safety bestowed by the ground, presenting an uncertain state between floating and suspended. This suspension is not merely a formal treatment but also an extension of the concept: it enables the "body" to break away from the original gravitational system and enter a more open and poetic space, as if wandering between time and consciousness. It also symbolizes a "suspended" state of the human body in social structure, emotional load or self-perception - having both support and being in a certain tension and unease.

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Sporarium

Artist： Yukonishikawa

In Sporarium, lamps and sculptures seem to grow organically from every surface. Light bounces off the layered interior walls, giving the impression that it glows from within. The soft, muted colors of the light feel gentle and kind.

A curious transformation occurs each time ceramic pieces are unloaded from the kiln. The artist, having spent hours shaping each form by hand, finds that the finished piece feels strangely unfamiliar—almost as if meeting it for the first time. While some changes are expected—color shifts, material hardening, and subtle shrinkage—the true reason for this transformation seems to lie elsewhere, remaining an enduring mystery. A similar phenomenon unfolds with light. When illumination begins to emanate from within a piece, it appears to take on a life of its own. The artist creates lamps to witness this moment of quiet metamorphosis, drawn to the strange and beautiful way light brings form to life.

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Based on sample 3, I began to think about whether some containers of other shapes could be made, and then the audience could touch the materials inside through the openings. So I began to make some containers with small holes. If I need to make large items in the future, what I need to pay attention to is that some cracks will appear during the firing or drying process, and I need to use newspapers to support them.

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Regarding how to attach wool felt to ceramic, I first tried pinching the desired shape onto the ceramic surface with foaming clay and then working on the felt, but foaming clay became harder and harder and thus affected the felt part.

So I tried the second method. First, I attached the wool flakes to the surface and then cut out the desired shape, and then shaped them. During the production process, I also encountered many difficulties and challenges. For example, I needed to compare the size of the ceramic jar every time I shaped it for a while. The problem of disordered wool arrangement was also encountered during the coloring process.

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' Tasty Collection'

Artists: Ahryun Lee

The Tasty Collection by German-Korean artist Ahryun Lee questions how people remember taste and how memories related to taste are visually translated into objects. She was inspired by the abstract sensations of flavours such as sour, sweet, fizzy and bitter.

‘Focusing on “Tactile sensation”, I wanted to create an imaginative, sensually provocative ceramic object which leads to a Synesthesia experience. ’ said by Ahryun Lee.

The color and texture of her work turn this abstraction of taste into a tangible and vibrant visual language in ceramics. These extraordinary objects are intermediate between functional and non-functional, suggesting how ordinary objects transcend the potential of functional development and express a non-medium carrier of consciousness.

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Through tactile recording, I thought about how to make the object fun. I tried to use paper to make a simple sample like a button.

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Whenever I see the sunset, I turn on my camera to record the moment, I think the sunset is very comfortable and relax.

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I research some artists who gave material a special meaning and incorporated it into their work

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Through U1's presentation, I reflected on my research and production of u1. First of all, in the future, I need to clarify my direction, whether to go in the direction of product design or the direction of craftsmanship. Secondly, if I am going to do product-related design, I need to pay attention to the user experience and not be too idealistic. Thirdly, I also need to pay attention to the craftsmanship details, such as the scratches on the bottom of the cup and the interior of the ceramic.

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9/26

I visited the furniture section of the V&A Museum on 26 September. The V&A has been collecting furniture and woodwork for over 150 years. V&A shows six centuries of British and international furniture production – from Japanese lacquer and furniture from the 1851 Great Exhibition, to innovative contemporary design.

One piece of furniture stood out to me, Its name is ‘Fractal Table ll’.

‘Fractal Table ll’

Designer：Gernot Oberfell, Jan Wertel, Matthias Bar

It used a type of additive manufacturing called stereolithography. Epoxy resin was spread on the base of a sealed tank. When struck by a UV laser, the designated areas hardened to create one horizontal layer of the table. Untouched areas remained liquid.

Materials and technique：

stereolithography, UV laser

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Sample 1 ( Based on U2 final object)

Based on my U2 final object . I attempted to make the ceramics more distorted to express the concept of shaping. During the production process, I also encountered a lot of challenges: when I twisted the clay pieces very severely, they would collapse. So I need to use a hot air gun to dry the lower part of the clay first, and then slowly proceed with the shaping on the upper part. Additionally, while waiting for it to dry, I also need to use newspapers to support the work both around and inside to prevent cracking.

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Based on sample 4 5, I began to think about whether some containers of other shapes could be made, and then the audience could touch the materials inside through the openings. So I made a semi-circular dome. Then the wool of different colors is mixed together and implanted inside.

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Material:

air dry clay, coffee ground

I made a candle holder in the first week and I collected some coffee grounds from a coffee shop and mixed them with air dry clay. Its shape is very random. Because I wanted to show the irregularity of the candle burning. This candle holder also smells faintly of coffee.

Reflection:

1. should try coffee ground materials for more possibilities.

2. The clay has some cracks after drying, and more water needs to be added during the making process.

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Material：

coffee ground, soap cream

In the first presentation, my classmate asked me whether the jewelries in the project "cleaning" was functional. But these jewelries don't have a cleaning function, they are made of glass. So I want to make a functional jewelry.

I mix coffee powder with soap to try to create a clean jewelry with a scrub effect.

Reflection:

1. I should use this material to create more forms of products, not just a single bracelet.

2. Improved bracelet connection, using fishing line is a rough craftsmanship.

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10 Objects:

In the first 3 weeks at UAL, I have made 10 objects. I use Different materials such as paper, oranges’ peels, coffee grounds, soap cream, ceramic. These are materials I’ve never tried before.

Reflection:

1. Should explore more possibilities in these materials.

2. Using suitable tools and materials to create.

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Artist: Ana Montiel

Montiel doesn't think that colors are solid surfaces. Without any prejudice, she links all the different hues and gradients to feelings or moments, emotions or unnamed objects. Layers of tones run through her canvas like white noise, emerging and disappearing from the depth, creating different narratives for each viewer. The iconic "color field paintings" are rich and delicate in layers, with dreamlike colors, bringing the viewers an immersive experience like a "lucid dream".

Montiel reflects the limitations of human experience through media such as paintings and installations, and questions the reliability of perception. The artist also actively introduces the inspirations she has gained in various disciplines such as neuroscience, psychology, mythology, and philosophy, making the works present a combination of orthodoxy and unorthodoxy.

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"Another Kingdom: Light Stage"

Chess

Designer: Taras Yoom

This set of works adopts many complex manufacturing techniques, including fine 3D printing with photosensitive polymer plastics, molding, engraving, polymer casting, manual processing of objects and detailed treatment of acrylic paints. Moreover, each set is equipped with an embedded NFC chip, namely a digital certificate, for verifying the authenticity of each set and recording its ownership.

This chess set marks the beginning of a new era in the development of the Kingdom of Yoomoota Planet. It embodies the charming atmosphere of the endless bazaar. The chess game is divided into two types of victories - material victory and symbolic victory. The former is related to the classic rules of chess. The latter symbolizes that heroes will discover the treasure hidden in the center of the chessboard.

Materials:

Metal, Platic, Acrylic, Wood, Silicone

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We visited Tate Modern on Thursday and when we crossed the central deck we saw the centerpiece of the installation, a huge cylindrical metal structure with a rusty exterior that looked like an old jet engine.

“Open Wound”

Artist: Mire Lee

Research:

Mire Lee reimagined the Tate Gallery as an industrial womb. Lee filled the Turbine Hall with "skins", fabric sculptures hung from the ceiling, presenting the turbine hall as a living factory.

When the factory was in operation, new skins were moistened under the turbines. Then, technicians moved these skins and let them harden on nearby racks and were dragged into the air.

Over time, "skins" accumulated, "birthed" from the main body of the building, and at the same time seemed to "fall off" from the ceiling above. Machine and human / Production and decay / Soft and hard / Inside and outside / New and old... Lee's fabric "skins" were produced - dried - hung.

In fact, I feel that it also represents the dissolved or malleable body. The hanging skins are of different sizes, which also indicates the common nature of our fleshy existence.

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"3Y 3B"

Artist: Rasheed Araeen

Research:

Rethinking of Abstract Geometry

Araeen was born and educated in Pakistan, trained as an engineer, and then moved to Europe in the 1960s, becoming one of the pioneers of British minimalist sculpture.

However, his contribution to the country's modernist discourse was not institutionally recognized, and he was marginalized as a non-European.

His works have always been evaluated in the context of postcolonial structures. Therefore, in the 1970s and 1980s, his performances, photographs, paintings, and sculptures began to develop an obvious political content, drawing attention to the invisibility of black artists in the European-centric culture.

The geometric structure in which vertical and horizontal lines are connected through diagonal networks (like the support rods used to strengthen the lattice engineering structure) plays a connection role between Eastern and Western thoughts, as well as social systems and aesthetic frameworks.

The photographs covered in or contained in these geometric structures bring personal and psychological aspects and link the individual human being to the social structure in which he/she exists.

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"Hour of the Traces"

Artist: Alberto Giacometti

Materials:

Plaster, Wood, Steel

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"Untitled"

Artist: Robert Gober

Research:

This is one of about ten leg sculptures Gober made in a two-year period.

They were inspired by two formative experiences – a story his mother, who had been a nurse, told young Gober about being handed an amputated leg in the operating theatre. The second was as an adult, seeing a sliver of bare skin exposed by a fellow passenger crossing their legs on a flight.

The artist said of his making process: ‘The hair on the leg is human and purchased from a wig supplier. The leg is a bleached beeswax cast of my lower leg. The hairs are implanted into the warmed-up beeswax, one by one, with a tool we crafted through trial and error in the studio.

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This Monday we went to the special collections centre in LCC.

I chose these two objects.

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This collection is a food mixing blade. It found in a junk shop in Prague. Its size suggests that this is a fitting from a mixer in a large, possibly military, kitchen.

Reflection:

The reason I chose to look at this collection is that I love its spiral-like shape.

It is also like a slide, and this structure can be used in toy design.

Perhaps spherical objects could be added to the gaps in the structure, and the balls could be turned by people touching them, perhaps can become a decompression product.

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This collection is a garden rake or carding tool.

Judging by the rust and corrosion, this must be at least 200 years old. Hand-forged and curiously delicate for a garden tool, the tines resemble the spines of the hackle board on page 121, suggesting that this may have been the head of a tool for combing flax prior to spinning.

Reflection:

The reason I chose this collection is because of its appearance, it resembles a monster's claw, and its surface is covered with rust.

I think this rusty state is perfect for some dark, defiant themes.

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Oku

Designer：Kathleen reilly

This is an exhibition I visited at the London design Festival. In the exhibition, Reilly shows her design process and design philosophy.

Through poetry, Reilly observed and absorbed the fleeting moments around she and her own unconscious actions on a daily basis. She takes the important words of poetry and transforms them into tangible objects. As she relates her words to the physical world, memories are awakened and the two form a state of juxtaposition. Reilly's objects have a semiotic quality, and they seem to change in a variety of different situations.

Reilly's work covers a wide range of processes and industrial processes, including electroforming, molding and die cutting, with a focus on materials and ingredients to subvert some of the most deeply held perceptions of jewelry. Reilly reinvents seemingly ordinary places with elegant, often witty creations, giving them ambiguous functionality.

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Touching

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Touching Recording

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‘Humanoids Family’

Designer： Ernesto Neto

Research：

ErnestoNeto, born in Rio de Janeiro in 1964, is a contemporary visual artist. Neto's work often explores the spatial and sensory relationship between the viewer's body and the installation environment through large fabric sculptures and participatory environments.

Humanoids Family is a wearable interactive device created by Neto in 2001. Unlike what most artists create,

The Humanoids family is not endowed with rich colors and complex shapes, and its main material is a milky white high-elastic cloth, wrapped in soft stuffing, which has the appearance of a chrysalis.

Humanodis Family is not only fluffy and soft, but also allows visitors to wear the experience. By fitting the organic form of the human body, every person wearing it maintains a general posture of hugging, and through its contact with the body, people feel the touching and emotion of being alone but as if accompanied, so that people temporarily forget the external environment and obtain temporary comfort and security.

Reflection：

1.Neto creates a deeper connection between the artwork and the viewer by emphasizing touch, material sense, and physical interaction.

2.Neto's work shows how design can pay attention to emotional needs. Humanoids Family is more than just a visual artistic representation, it's an experience that provides a sense of security and comfort. Design can consider how to affect the user's mood and comfort through the work, which can be used in my future design.

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smelling

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I tried other types of exhibition forms, not limited to being placed on the table. I referred to the hanging works of the artist Yuko Nishikawa. Try to hang the works for exhibition at a height that the audience can reach. I attached wool of different colors inside. This form is somewhat like individual lampshades. I tried to hang the semi-circle upside down again, but due to the weight of the ceramic, it tilted. This made me notice one point: ceramic works that are too heavy might not be suitable for hanging and display.

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This Monday, we went to V&A Museum for a study trip. My research direction is touch sense, so I looked for ceramic works with different textures in the ceramics area and drew them on my sketchbook.

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Reflection：

1. The top is too high, which makes it uncomfortable to press with my fingers.

2. Think about other shapes.

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' Field '

Artist: Leo Villareal

Visual artist Leo Villareal is known for his light installations that use LED lights and computer technology. With the help of surreal light art, Villareal's work is filled with poetry and serenity. In Villareal's art practice, he uses leds and customized computer programs to represent light time in abstract shapes and color blocks. With the help of new media, the artist explores the "boundaries" of painting in a single digital sculpture, such as concentric cubes that glow with a gradual shimmer. By changing color, sharpness, light intensity, and duration, Villareal activates static colors to create a universe that appears to be slowly moving. In the dark space, the viewers in this watershed also gradually expand their images with the leap of color.

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After reflecting on U1, I decided to devote myself to the design of craftsmanship, so I chose the brief "tangible meaning"

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In qualities workshop, I tried to use tin foil and paper to make the texture. When using the express cardboard, I was surprised to find that the texture inside the express box could be stretched, which made me think about the connection between stretching and touch. Moreover, I made two handles for the cardboard to facilitate operation.

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Last week at V&A, I investigated the artist's technique of using ceramics. This week, I tried to use ceramics to visualize my tactile experience. First, I made a single texture sample. I wanted my work to be functional, so I transferred the texture to a cup that I normally touch every day.

Reflection:

1.When I trying to pick up the cup after making it, the cup with polka-dot texture is difficult to pick up, and this problem needs to be improved.

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To improve my research on the senses, I incorporated taste design and content related to people with disabilities.

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Some thinkings about the brief "Tangible Meaning"

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Material：

Orange

I explored the plasticity of orange peel by drying it to a certain extent and shaped it.

Reflection:

Biological materials are difficult to preserve and prone to mold and need to find ways to avoid mold

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‘Devouring Lovers’

Designer: Eva Fàbregas

Research:

Eva Fàbregas was born in Barcelona in 1988 and now lives and works in London. The artist focuses on the value of touch, tactile perception and communication, physical memory, and the way surfaces influence our experience of the world. Spanning sculpture, video, installation, performance and sound, her work explores the realm of physical and sensory experience, questioning how our bodies, emotions and desires are reshaped through industrial design.

Eva Fàbregas employs soft and malleable materials to embrace tactile engagement, fostering physical intimacy and sensorial connections, where touch becomes a primary source of knowledge. Her sculptures, evocative of body organs and lush glands, extend beyond human anatomy to explore prosthetics and natural life forms like corals, polyps, and plant reproductive elements. Through her art, Fàbregas seeks to immerse herself in the world of the senses, crafting sculptures that evoke a pre-linguistic realm, allowing viewers to envision alternative embodiments, new emotional experiences, and diverse ways of caring and existing within the world.

Reflection:

In her practice, Fàbregas prompts us to reconsider how we perceive the world, not just through sight or language, but through a complex interplay of touch, sensation, and emotion. She offers new possibilities for understanding existence—ones that are not rooted in traditional symbolic systems, but in the rich, embodied experience of being.

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I take the cup that I always touch in my daily life as the inspiration body, and continue to think about the decompression toy that I made earlier.

When the hand picks up the cup, the texture on the cup plays the same effect as the handle on the ordinary cup.

The wool felt on the cup wall insulates most of the cold feeling of ceramic.

Reflection：

If used in daily life, there is wool felt on the surface of the cup can not be soaked with water, if it needs to be improved, I have to further think about how to achieve the wool felt can be taken down at will.

Problems encountered during working process

1. When making ceramics, I did not take into account that the ceramic glaze will shrink after burning.

2. The result is that the texture on the ceramic does not have the desired effect when combined with the wool felt

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Inspired by the grip strengthener in the school's special collection. I used foam clay to pour out the structure between my fingers and then combined it with the wool felt.

Reflection：

Over time, the foam clay will harden, the effect of pressing will become worse, it is best to use other materials such as soft silicone instead.

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Through the Stress-reducing Toys squeeze test, I

began to wonder if the texture on the cup could

interact with the fingers.

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sample

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My focus on the sense of touch is largely based on direct experience in everyday life, but I haven't explored how it can be concretely applied to my design work.

By investigating the texture of these ceramics, I wondered whether these textures could be applied to objects in daily life such as mobile phone cases, cups, cutlery and so on

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At the welcome collection, I witnessed some art designs related to medicine. Among them, the most impressive one was the ceramic jar by the artist Tamsin van Essen. She combined disease with the surfaces and shapes of these vases each suggest a health condition that can be inherited.

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I attempted to create the colors of the sunset I had captured using wool felt. Through experimentation, I found that some of the colors didn't blend well together.

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And artist Tasha Marks inspired by the theme of infection. This sculpture has been designed to emit an aroma that evokes the smell of human breast milk, as a celebration of the original superfood and the Bifidobacteria. This aromatic tribute to this phenomenon is designed to be tactile, bodily and playful.

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I attempted to compare my sample to analyze its touch.

However, the words used in the table are not very professional. I need to look for references to make my table more reasonable

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During the spring break, I visited the Munch Museum, where I not only admired "The Scream", but also gained a deeper understanding of Munch's unique artistic style and his profound exploration of emotional expression. What was most memorable was that I personally experienced the traditional technique of woodblock printing. I picked up a wax crayon and slowly applied it to the paper covering the printing texture. As the image gradually emerged, I developed a deeper appreciation for the craftsmanship and patience required in artistic creation.

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I tried to make a clay pot, then put the wool into the pot and then touched it. Through experiments, I think I should make larger containers so that my hands and arms can enter them

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For example, a deaf American artist Christine Sun Kim, she explores the relationship between sound, language and communication through her experiences as a deaf person.

She believes that sound is a multi-sensory phenomenon whose properties include auditory, visual, and spatial, as well as social determinism. Through her installations, performance art, and paintings, Kim creates a new language of visual and tactile experience that allows the audience to interact with sound and language in novel ways.

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I put the feathers into the ceramic jar for touch. The feeling of the feathers made me feel very light. With just a little force, I could touch the hard inner wall of the ceramic. This feeling is not what I want, so I decided to try other soft materials

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I attempted to make large ceramic jars. During the making process, I encountered difficulties. Due to the large size of the object, the clay would crack very easily, and I couldn't control the shape of the ceramics well. So I thought about whether I could change the form of expression.

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I used a tablet press to press the clay into tablets and successfully achieved a height that could fit half of my arm. So I changed my sketch. I want to make long jars of different sizes to express many different people.

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I sewed the copper wire onto the silicone surface to make the texture, but I didn't like the feel by the touch.

And the silicone is very prone to getting stained.

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I try to create several pits on the foam clay and implanted wool yarn into them.

By rotating the thread between the two clays it gets tighter and tighter.

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I attempted to create a texture for the interior of the ceramic jar and then covered it with wool felt. However, after the touch test, the internal texture was not obvious enough. So I tried other methods to enhance the texture perception.

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I implanted the wool into the ceramic pieces full of pits, just like a brush. This kind of wool has a fluffy feeling when touched, and it swings along with my fingers.

If I implant wool into my earthenware pot like this, I need to consider the thickness of the ceramic and the potential risk that internal holes may cause cracks in the ceramic.

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To reduce the risk of the ceramic cracking, I came up with another method: covering the bowl-shaped perforated ceramic over the ceramic pieces implanted with wool felt.

When I touched, my finger movements were hindered and I couldn't pick up the wool inside as freely as in the previous sample

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I want to make a large container so that the arm can be put into the ceramic.

About the shape of ceramics, I referred to the works of Henry moore and abstractly expressed the form of human beings.

# data[].attributes.body
I upgraded my sample comparsion grid and referred to more professional terms from the book Materials for design. and the table is divided into two types: single material and 1+ materials.