Ochre Development: Body Archiving and Fluid Boundaries
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This series of works is part of the artist’s ongoing menstrual blood imaging project, developed during the residency at SLY art space. They introduces the body’s most private and long-stigmatized fluid into the history of photography, framing it as an experiment that challenges the mechanisms of visual archiving and spectatorship. The technique begins from the nineteenth-century albumen print process, a historical method that consumed millions of eggs and transformed the reproductive material of hens into standardized resources for the photographic industry. Against this backdrop, menstrual blood partially replaces the albumen to construct an alternative archival system, making bodily memory visible and inscribing it through the photographic medium. Both menstrual blood and eggs are tangible markers of bodily change, yet they also serve as carriers of stigma and oppression. Their use not only questions the neutrality of photographic technology but also exposes the exclusion and regulation of the female-assigned body embedded in the act of seeing.
This series of works is part of the artist’s ongoing menstrual blood imaging project, developed during the residency at SLY art space. They introduces the body’s most private and long-stigmatized fluid into the history of photography, framing it as an experiment that challenges the mechanisms of visual archiving and spectatorship. The technique begins from the nineteenth-century albumen print process, a historical method that consumed millions of eggs and transformed the reproductive material of hens into standardized resources for the photographic industry. Against this backdrop, menstrual blood partially replaces the albumen to construct an alternative archival system, making bodily memory visible and inscribing it through the photographic medium. Both menstrual blood and eggs are tangible markers of bodily change, yet they also serve as carriers of stigma and oppression. Their use not only questions the neutrality of photographic technology but also exposes the exclusion and regulation of the female-assigned body embedded in the act of seeing.
This series of works is part of the artist’s ongoing menstrual blood imaging project, developed during the residency at SLY art space. They introduces the body’s most private and long-stigmatized fluid into the history of photography, framing it as an experiment that challenges the mechanisms of visual archiving and spectatorship. The technique begins from the nineteenth-century albumen print process, a historical method that consumed millions of eggs and transformed the reproductive material of hens into standardized resources for the photographic industry. Against this backdrop, menstrual blood partially replaces the albumen to construct an alternative archival system, making bodily memory visible and inscribing it through the photographic medium. Both menstrual blood and eggs are tangible markers of bodily change, yet they also serve as carriers of stigma and oppression. Their use not only questions the neutrality of photographic technology but also exposes the exclusion and regulation of the female-assigned body embedded in the act of seeing.
During the residency, the artist investigated the history and present condition of the Xinjie River, tracing the repeatedly oppressed and overlooked memories it contains. The river has served both as irrigation source and as receptacle for industrial and urban wastewater; its estuary once became a dumping ground for waste, and massive fish die-offs have often occurred in the summer. Today the river channel has been absorbed into the Taoyuan Aerotropolis expropriation zone, overlapping with the borders of highways and MRT systems, reduced to a base that can be administratively maneuvered. Although water is indispensable for urban survival, it is persistently treated as a disposable resource—mirroring the way the feminine body, too, is used, ignored, and repressed. In the work, three fluids—egg white, menstrual blood, and river water—are layered onto the photographic paper. Egg white carries the historical burden of the albumen process, while menstrual blood embodies the artist’s corporeal entry into the field. The images emerge from the overlap of blood stains, water traces, vortices, and oil slicks from the estuary, staging an interplay between inner tides and external currents. Stains and sediment transform into textures on the image surface, where bodily memory and the river’s wounds echo one another, leaving behind residues of resistance.
During the residency, the artist investigated the history and present condition of the Xinjie River, tracing the repeatedly oppressed and overlooked memories it contains. The river has served both as irrigation source and as receptacle for industrial and urban wastewater; its estuary once became a dumping ground for waste, and massive fish die-offs have often occurred in the summer. Today the river channel has been absorbed into the Taoyuan Aerotropolis expropriation zone, overlapping with the borders of highways and MRT systems, reduced to a base that can be administratively maneuvered. Although water is indispensable for urban survival, it is persistently treated as a disposable resource—mirroring the way the feminine body, too, is used, ignored, and repressed. In the work, three fluids—egg white, menstrual blood, and river water—are layered onto the photographic paper. Egg white carries the historical burden of the albumen process, while menstrual blood embodies the artist’s corporeal entry into the field. The images emerge from the overlap of blood stains, water traces, vortices, and oil slicks from the estuary, staging an interplay between inner tides and external currents. Stains and sediment transform into textures on the image surface, where bodily memory and the river’s wounds echo one another, leaving behind residues of resistance.
During the residency, the artist investigated the history and present condition of the Xinjie River, tracing the repeatedly oppressed and overlooked memories it contains. The river has served both as irrigation source and as receptacle for industrial and urban wastewater; its estuary once became a dumping ground for waste, and massive fish die-offs have often occurred in the summer. Today the river channel has been absorbed into the Taoyuan Aerotropolis expropriation zone, overlapping with the borders of highways and MRT systems, reduced to a base that can be administratively maneuvered. Although water is indispensable for urban survival, it is persistently treated as a disposable resource—mirroring the way the feminine body, too, is used, ignored, and repressed. In the work, three fluids—egg white, menstrual blood, and river water—are layered onto the photographic paper. Egg white carries the historical burden of the albumen process, while menstrual blood embodies the artist’s corporeal entry into the field. The images emerge from the overlap of blood stains, water traces, vortices, and oil slicks from the estuary, staging an interplay between inner tides and external currents. Stains and sediment transform into textures on the image surface, where bodily memory and the river’s wounds echo one another, leaving behind residues of resistance.
〈Ochre Development: Body Archiving and Fluid Boundaries〉• Mixed Media (Blood, Silver Nitrate, Rough Cotton Pulp Paper, Single-Channel Video, Found Objects) • Dimensions Variable • 2025
〈Ochre Development: Body Archiving and Fluid Boundaries〉• Mixed Media (Blood, Silver Nitrate, Rough Cotton Pulp Paper, Single-Channel Video, Found Objects) • Dimensions Variable • 2025
〈Ochre Development: Body Archiving and Fluid Boundaries〉• Mixed Media (Blood, Silver Nitrate, Rough Cotton Pulp Paper, Single-Channel Video, Found Objects) • Dimensions Variable • 2025