_{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}

_{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.}

“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.}

_{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.}

_{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.}

_{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.}

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}

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.}

Artist: Alberto Giacometti

Materials:

_{Plaster, Wood, Steel}

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.}

I chose these two objects.

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.}

_{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.}

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.}

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.}

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.}

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.}

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

2. _{Think about other shapes.}

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.}

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.}

_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}

_{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

   
   

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.

Through the Stress-reducing Toys squeeze test, I

began to wonder if the texture on the cup could

interact with the fingers.

_{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}

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

And the silicone is very prone to getting stained.

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

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

_{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.}

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.

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

_{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.}

_{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.}

Inside：fragments from AOI's material library.

Artist：AN OCEAN of IDEAS

_{At the London Craft Week, I saw works that were very much in line with my current research direction. From its appearance, it is an ordinary metal box, but it is an art installation that combines sensory experience with the philosophy of time. Through blind touch, it guides us viewers to reawaken our sense of touch in tranquility and feel the temperature and memory of the materials. The hard shell is composed of powder-coated steel, torn leather and metal rivets, while the interior houses a variety of tactile fragments from the AOI Materials Library, presenting a contrast between softness and hardness, violence and tenderness. The work emphasizes that "time is our material", using slow craftsmanship to counter fast consumption, advocating collectible items rather than rapidly changing trendy products, which reflects AOI's consistent material philosophy and perceptual aesthetics.}

Reflection：

_{In the previous class, the tutor proposed that if the work was touched by many people, it would become very dirty and a solution was needed. I think I could refer to the exhibition form of this work and place a disinfectant beside the work. Before each audience member touches it, they should clean their hands with the disinfectant first.}

_{The reason for the cracking is that I repeatedly rubbed the clay blocks before turning them into clay flakes, which made the clay clumps contain air, thus causing the cracking of the work.}

Solution:

_{Before using the tablet press, there is no need to rub the mud blocks, and old mud should not be used. Instead, the new mud in the bag should be directly cut out for tablet pressing.}

_{I finally chose ceramics and wool as the materials for my works because ceramics can be molded into many shapes. Wool can also be dyed in many colors and can be made into many textures. These two materials are very much in line with the concept of shaping}

_{Through this sensory box, I used cardboard to build a box filled with wool inside, hoping that the audience would blindly touch the contents of the box to feel the material.}

_{But I feel it's a bit simple. I think I can rethink the presentation form of the work instead of simply placing it on the table. It can also be suspended in the air.}

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.}

In addition, I gradually became aware of some deficiencies in the logic of my works, especially in the relationship between the ceramic shapes and the felt parts. There are significant differences between the two materials in terms of both physical and visual aspects. The connection methods, dialogue relationships, and emotional transmission between them require more explicit and meticulous handling. I began to repeatedly examine the structural connection and morphological language between them, pondering how to create an organic tension between the hardness of the ceramic and the softness of the felt, rather than a simple collage or stacking.

Yoichi Ochiai, a media artist with a unique perspective, has brought an unprecedented immersive experience that fuses the digital world with the physical world. With the theme of "Shaping Life", this exhibition hall explores life through technological and architectural innovations, breaking through the boundaries between digital and physical realities.

The architectural structure of this exhibition hall adopts a reflective film, which can serve both as a surface material and as a transformable digital medium. This innovative design creates a constantly changing interactive environment, challenging the boundary between reality and virtuality.

It presents two mirror experiences:

The first is a physically existing mirror

A sculptural architectural work, whose surface is covered with a movable mirror-like film, can reflect and distort the image of visitors.

The second is the digital mirror surface

A space where a visitor can encounter their digital avatar, which is a three-dimensional virtual image generated from visual and voice data captured through a mirror.

Through " null2 ", the creator hopes to encourage visitors to think about the meaning of future "life". The visitors' bodies interact with their digital selves within the exhibition hall, which organically change and move autonomously. This concept is not only intended to attract people, but also to prompt them to think deeply about the constantly evolving relationship between technology and identity.

After learning this knowledge, we began our own stone carving creation. For me, this is a brand-new experience - it's my first time to come into contact with stone carving art. At the beginning, I was not proficient enough in using tools and encountered some challenges during the creative process. Although the final work was a bit rough and unsatisfactory, the entire process was very rewarding for me.

What is especially unforgettable to me is the unique feeling of creating in nature. Accompanied by the sea breeze and the sunlight, I gradually immersed myself in the rhythm of hammering stones, as if engaging in a silent dialogue with nature. This experience not only allowed me to try new art forms, but also made me cherish even more the inspiration and materials bestowed upon us by nature. Looking forward to having the opportunity to experience such an artistic journey that is close to nature and full of creativity again in the future.

I hope this distortion is not random destruction, but an expression with some kind of inner tension and emotion, just like an object being changed or reshaped by time, emotion or natural forces.

The distortion and deformation on the surfaces of these tanks are not merely modeling experiments, but rather my metaphorical expression of life. Just like all the events that people experience on the journey of life - whether they are sudden challenges or subtle changes - they will all leave their marks on us. These experiences, some of which cause us pain and some help us grow, constantly shape, distort and even shatter our original selves.

While I was shaping these forms, it seemed as if I were also looking back on my own past. Every pressing and stretching movement is like a response to a certain memory and a release of a certain emotion. The final formed tank, although no longer symmetrical and smooth, presents a genuine and unique beauty. Just like each and every one of us, although we have been polished by life and are no longer perfect, we have thus become more three-dimensional and powerful.

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

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.

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.

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.

Livia Marin often uses everyday objects in her creations to explore the essence of how we relate to material objects and our relationship with their development in an era dominated by mass production, standardization and global circulation.
The artist drew inspiration from fragments of industrially produced tea sets in his work. In the series "Broken Things" - tea cups, bowls and jars seem broken yet intact: Decorative patterns float on the surface of the broken objects, reflecting their fluidity and ambiguity.

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.

Through repeated tests, I can observe the postures and gravitational responses of these earthenware jars when they are suspended in the air, further adjust their relative positions and sense of rhythm, and thereby shape a device structure with a sense of integrity and tension. Meanwhile, mold replication also enables me to focus more on the details of materials and surface treatments, allowing each tank to present subtle differences and individuality while maintaining structural uniformity.

For me, this stage of the experiment is not only an improvement in the technical aspect, but also an extension of the concept of the work - the suspension of multiple "bodies", which is not only a formal repetition, but also implies in-depth thinking about the relationship between the group, the individual and the space.

Although it had a certain visual impact, after in-depth discussion, I realized that such a design deviated to some extent from the core of the project's initial setting - "tactile experience".

The complex structure, instead, weakens the directness and purity of perception that touch should carry, making it difficult for viewers to focus on the subtle changes between the material and the surface. My supervisor suggested that I return to the essence of the work and try to use a simpler and more geometric form as a carrier, so as to more clearly emphasize the dominant position of touch in the work.

This feedback is a very valuable reminder to me. It prompted me to re-examine the relationship between form and concept, and also made me realize that in creations that emphasize sensory experience, the restraint of form often brings about a stronger perceptual tension.

Next, I plan to simplify the structure of the work, enhance the expressiveness of touch in materials, textures and space, and return to a more intuitive and physically engaging way of expression.

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?

However, during the actual production process, I soon encountered problems at the material level. Due to the fact that ceramic clay sheets are prone to problems such as warping and cracking during the drying process, especially when the sheet area is large, this physical deformation becomes difficult to control. Even though I tried to flatten it with wooden boards during the drying stage to delay the uneven loss of moisture, the problem still existed and the effect was not ideal. This makes it difficult for the pottery shards to maintain the expected flatness and structural stability, thereby affecting the construction of the overall space.

Facing these challenges, I realized that adhering to the original plan might lead to more technical obstacles, which in turn could affect the integrity of the expression and the audience's sense of participation. Therefore, I began to re-examine this design and started to modify and adjust my design sketches. I attempted to start anew from the perspectives of structure, material selection, and spatial relationships, to consider whether the same concept could be realized in a way that better conforms to the characteristics of materials, such as trying smaller sizes and curved surface structures.

Each piece of mud symbolizes various irregular and fragmented norms and forces in society, which are assembled into a closed and seemingly stable shell in a nearly rational geometric form. By piecing together clay pieces of various sizes into a cube, I deliberately retained the traces and boundaries of the splicing, making the "cracks" and "gaps" part of the work. These visual and tactile discontinuities reflect the tension and uncertainty beneath the appearance of social order.

This structure composed of "fragments" also corresponds to the state in which individuals are shaped, reorganized, and even alienated within the social system. When the audience confronts such a "form constructed from the outside", only by truly approaching and touching the soft wool inside can they feel the truth and warmth hidden behind the rules. This process is both a perceptual experience and a symbolic "self-search".

The simple texture brought by the white glaze is in harmony with the overall quiet and restrained atmosphere I want to create. It is neither noisy nor flamboyant, yet it can display delicate layers and texture changes under the illumination of light. At the same time, white also offers viewers more room for imagination, allowing them to return their attention to the form structure and touch itself of the work, rather than being dominated by the surface color.

Compared with the cube which emphasizes boundaries, angles and rules, the cylinder appears visually softer and more fluid, as if it were a transition and relief of the original geometric order. I still use the splicing method for production, preserving the seams and structural traces between the clay pieces. This enables these cylinders to maintain their curving beauty in form while also presenting an imperfect and artificially imperceptible presence.

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.

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.

In the dim exhibition hall, visitors will encounter a mysterious installation called "Suspended Cocoon". These white, cocoon-like wool felt products, about the size of real people, were hung densely, leaving enough space between each other for people to pass through. Under the illumination of the lights above, the "hanging cocoons" emit a soft glow, looking particularly soft and intimate, and their surface textures and patterns are also diverse. When touching these installations, visitors will find that each "suspended cocoon" has a different texture, and the wrinkles, ridges and protrusions also have their own characteristics. The audience can gently touch the soft wool felt with their hands and embrace these hanging, heavy "cocoons", which will sway gently with the pressure. In the atmosphere of quiet meditation, "suspended cocoons" often evoke people's feelings of wonder, comfort, curiosity and vulnerability.

This exhibition experience made me realize that the presentation of works not only depends on the creation itself, but is also closely related to the environment, light and spatial atmosphere. Although I feel a bit regretful, it has also made me understand that in future exhibitions, I need to consider the spatial layout and lighting design even more to fully express the tactile experience and conceptual connotation of the works.

At this moment, I deeply felt the significance of light in the presentation of a work: it not only guides the audience's gaze but also enhances the tactile experience and emotional layers conveyed by the work. The cold hardness of ceramics and the softness of wool echo each other under the play of light and shadow, creating a dual contrast of vision and touch, allowing the conceptual intention of the work to be presented more intuitively and delicately. This shooting experience also made me realize that after the creation of a work is completed, the way of display and recording is also an indispensable part of conveying the theme.

The geometric structure is composed of natural elements such as soil, salt, water and plants. The work presents a tension between order and organic elements in the circular hall. Nature is restored to a structure that is both calm and full of vitality.