For this project, I made pulps from old kimonos and shirts that were passed by my family and friends. Beating them into fine bits made oddly emotional: I thought of my family, history, the tradition, and my journey. It was just after I made my works when I discovered the term ‘tactile memory’: my body remembered the time when I was in those soft materials made with care, when I felt safe and comfortable. In order to gain more control with pouring pulp, which gave me this new practice to draw and sculpt at the same time. With the yellow pulps made from an old shirt I wore on my bad skin days, I traced my skin, with scars and wounds with pulp. I sawn the skin pieces as a whole body, and placed them with a wing that I made from kimono pulps. Altogether, the paper represents transformation of the tradition to the contemporary, the surface and the beneath. During the performance, I attempted to meet my skin again, my surface that I have emotionally detached for a long time. The skin was shedded and rearranged. We lied on the bed holding hands, feeling vulnerable and comfortable with each other again.

We were together as a whole.