ln this experiment, I inserted remnant porcelain pieces in the form of nipples, casted from mothers and mothers-to-be, from Nayoung Jeong's Thesis Installation into hot glass as inclusion bodies. Because of the difference in coefficient of expansion, the ceramic breaks the glass during the annealing process. I repaired and polished the broken pieces and made them into material study specimens to collaboratively explore the idea of feminine spaces and notions of displacement in conversation with Nayoung's work. The fragmentation in glass caused by the ceramics also expressed the idea of internal violence between the glassy space and the encapsulated ceramic nipple, a symbol for the feminine nurture in Nayoung's work. Through the poetic material expression of the destructive interaction between glass and ceramic resulted from the union, I also wish to subtly express the notion of violence in pacifying and displacing femininity and the resulting resistance.

 

In this piece, I cut a braid of my hair as a gesture to unbelong the regenerative part of myself and used it as inclusion in hot glass to explore the idea of loss, memory and the female sentimentality. The heat of the hot glass destroyed the physicality of the hair and the melted glass in turn buried its ash. Through the study, I realize that this process of losing the form but preserving its remains have become itself a gesture of holding tight to the past and its grief.