Image courtesy of Gemini
現成物
兩根成熟中的香蕉，相依於窗邊，享受陽光。
香蕉起初筆直生長，後跟隨對陽光的渴望而彎曲。其成熟期間會釋放大量乙烯，誘惑附近香蕉反應並也釋放乙烯。不似植物擁有專門的乙烯受體，人類幾乎無法察覺乙烯。
現成物的邊緣性（被忽略的存在）、偽裝性（可辨識的外表）、流動性（事物成為藝術再回歸事物）令我著迷。作品連結此三特徵和酷兒性，並進一步嫁接植物：酷兒性動搖異性戀中心視角，植物自主生命則動搖人類中心視角。它既似嘲笑藝術者的常用笑柄，又似對前者心態的調侃。
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Ready-made
Two ripening bananas lean on each other by the window, basking in the sun.
Bananas start off growing straight, but later bend as they crave sunlight. While ripening, they release a burst of ethylene, seducing nearby bananas to respond, releasing their own in return. Unlike plants with specialized ethylene receptors, humans can barely detect this gas.
I’m fascinated by the marginality (unnoticed presence), the disguise (recognizable surface), and the fluidity (something becomes art and then returns to something) of ready-made. The work links these qualities with queerness, then further grafts them onto plants: queerness unsettles the heterocentric perspective, while the autonomous living of plants unsettles the anthropocentric perspective. It ends up being both a common punchline for people who ridicule art and a parody of that very mindset.