Lines Left Behind consists of four photographic images and a textile installation. The work begins with natural scenes of tides, trees and grass, where shells are arranged into fragments of text. These arrangements appear temporary and fragile, as if they could be scattered by wind, water or time. The shells become both material and sign, carrying traces of order, labour and disappearance.
 

The use of shells is important because they come from a natural system that cannot be fully controlled. Their shapes, colours and surfaces are formed by tides, erosion and chance. By collecting, arranging and aligning them, I introduce a human order into something originally loose and unstable. This creates a tension between natural drift and human control.
 

In the textile installation, each shell is pierced by hand, threaded with a metal ring and sewn onto a piece of deep blue fabric. The shells are arranged with precision, yet the pattern is interrupted by intentional gaps. These missing shells prevent the work from becoming fully complete. They suggest that control is present, but never entirely stable.

 

Through the repeated actions of gathering, piercing, threading and sewing, labour becomes slow, physical and persistent. The work reflects on the burden of order and asks what happens when labour is expected to be continuous, neat and measurable. The absent shells resist the demand for wholeness. They leave space for incompletion, exhaustion and refusal.
 

In this way, Lines Left Behind considers labour not as a finished product, but as a cycle of making, interruption and beginning again.

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​​《Lines Left Behind》由四张摄影图像和一件织物装置组成。作品从潮汐、树木和草地等自然景象出发，贝壳被排列成文字的碎片。这些排列看起来短暂而脆弱，仿佛随时会被风、水流或时间打散。贝壳在这里既是材料，也是符号，承载着秩序、劳动与消逝的痕迹。

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我选择贝壳，是因为它们本身来自一个无法被完全控制的自然系统。它们的形状、颜色和表面质感由潮汐、侵蚀和偶然性共同形成。而当我将它们收集、排列、对齐时，便把一种人为秩序放入了原本松散、不稳定的自然物之中。由此，作品形成了自然流动与人为控制之间的张力。

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在织物装置中，每一枚贝壳都被手工打孔，穿入金属环，再缝制到一块深蓝色布面上。贝壳被精确地排列，但这种秩序又被有意留下的空缺打断。这些缺失的贝壳阻止作品走向真正的完整，也暗示着控制虽然存在，却始终并不稳定。

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通过收集、打孔、穿环和缝制这些重复动作，劳动变得缓慢、具体而持续。作品由此反思秩序所带来的负担，并追问：当劳动被期待为连续、整齐且可被衡量时，它究竟是在赋予重复以意义，还是只是在维持一种徒劳的结构？缺失的贝壳拒绝了完整性的要求，也为未完成、疲惫和拒绝留下了空间。

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因此，《Lines Left Behind》并不把劳动理解为一个完成的结果，而是将其视为一种不断制作、被打断、又重新开始的循环。