The work continues the artist’s sustained engagement with plants and women. Within dominant power structures, both are often positioned as secondary beings. This shared condition is not a simple binary of oppression, but a broader “family resemblance”—a terrain shaped, suppressed, yet capable of resonance and unexpected kinship.

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The work uses the plant material employed in the handmade paper tradition of Tengchong’s papermaking villages. Throughout the papermaking process—selecting, steaming, washing, pulping, sheet-forming, pressing, and drying—the plant fibers remain both soft and resilient, like human skin.

The artist adopts different material states of the same plant across these stages: she hand-molds the pulped fibers into small sculptures, each a negative form of a hand. These forms are then covered by a thin, almost transparent layer of plant fiber stretched to resemble skin.

Between skin and plant, between body and projection, something of history reverberates—gestures, repetitions, and silences sedimented over time. The work touches personal memory while extending toward broader absences, posing a quiet yet persistent question.