Unconscious as we cross (Endless House) engages with the circulation of material culture and the instability of meaning and form over time. While living in Taiwan, the artist purchased pre-owned souvenirs from her home country through online marketplaces. These objects, traces of personal memory and displacement, became the basis for a series of workshops in which participants were invited to replicate the souvenirs by hand. Each reproduction was then reinterpreted by another participant, creating a chain of iterative transformations.
Through this process, the objects gradually shift away from their original form and significance, echoing how memory evolves and how cultural artifacts are constantly re-authored. The souvenirs become speculative objects, caught between past and future, memory and imagination.
The reworked objects are presented on a combination of everyday furniture, museum plinths, and shelving. This hybrid display mirrors the ambiguous status of the objects themselves: some may be preserved as valuable cultural remnants, others forgotten or discarded. The installation’s title references Friedrich Kiesler’s 1950’s architectural concept Endless House, an imagined, non-linear space, as a metaphor for culture as a continuous and open-ended process of exchange, interpretation, and transformation.
