Through this long-term process, I gradually developed an approach centered on “stitching” and “molding.” Using local fabrics, threads, and collected images, I stitch fragments of myths from different residency locations into incomplete and indeterminate bodily forms. At the same time, I collect local soil and work with clay as a material for molding. Soil emerges through geological processes, while clay must pass through fire and irreversible time before becoming another form of matter.

Stitching and molding unfold in parallel, allowing myth to move beyond symbol or image and become a material presence that carries weight, time, and uncertainty. Place is no longer an object to be observed or represented, but a condition within which the work takes shape. Landscape, climate, materials, and everyday labor all participate in its formation.

Myth is therefore no longer bound to a single cultural system. It continues to emerge, transform, and exist temporarily within the rhythms of different places and everyday life.