In this work, two wooden forms rest on stacked bricks, split yet inseparable. The carved Nüshu characters—an endangered writing system once used solely among women—trace an intimacy that existed outside the dominant language. Nüshu was never meant to be loud; it was written quietly, passed hand to hand, embroidered into cloth, concealed in the domestic.

I carve the characters not to revive a language, but to acknowledge a lineage of voices that were never given space to speak. The table’s broken symmetry suggests a relationship that has been interrupted—two halves that once touched, now divided by an unspoken distance. The bricks underneath are temporary, like an improvised altar.

I cannot see who I am reaching toward. But through these materials, I can feel her.

在这个作品中，两个木制的形式放在堆叠的砖块上，分开却又不可分割。雕刻的女书——一种曾经只在女性中使用的濒临灭绝的书写系统——追溯了一种存在于主流语言之外的亲密关系。女书从来不是大声的；它是悄悄地写的，手传手，绣在布上，藏在家里。

我雕刻这些文字不是为了复兴一种语言，而是为了承认那些从未被给予发言空间的声音。桌子被打破的对称暗示着一段关系被打断了——曾经相接的两半，现在被一段不可言说的距离分开了。下面的砖块是临时的，就像一个临时搭建的祭坛。

我看不清我在向谁伸手。但通过这些材料，我能感受到她。