藝術家以多種語言逐一發聲「石頭」，每一次發音，都將不同文化的記憶與身體經驗帶入現場；語詞之間彼此疊合、碰撞、拉長，逐漸從語意過渡到聲學的純粹震動。觀眾的呼吸與座椅輕響同步被「收音」，整個空間像是一塊緩慢醒來的礦石。

當語言退場而振動升高，身體進入「無聲的吶喊」——肌肉收束、橫膈強烈起伏，聲音幾近不可聞卻充滿壓力。此時邀請觀眾靠近，將手輕放在藝術家肩、背、肋與腹部，直接感受震動的路徑：指尖先觸到呼吸的波，再觸到肌肉的戰慄，最後與地板的回彈連線。觸覺於是成為共同語言；圍聚的人群在黑暗裡逐漸收斂為一個「石群」，個體的界線鬆動，集體的身體生成。

演出持續推進：投影以極低亮度在牆面掃過岩層紋理與礦脈的抽象影像，與麥克風收錄到的微聲相疊。藝術家時而貼近地面、時而立起，將聲響導向觀眾群不同方位；近距離者可聽見喉頭顫動與齒間氣流，遠處觀眾則感知到整體空間的壓縮與放鬆。這一來一往的能量交換，使有限的黑盒子被「向內」拓展為無邊的場域。

石卷的語境為作品開出第二層意義。「石卷」本身的「石」字，與《石頭》形成語義上的回聲：石頭既是地質與時間的象徵，也是共同體韌性與凝聚的隱喻。當不同語言的「stone／石／いし／…」在同一空間裡循環，城市的震災記憶與當下的共同呼吸被臨時接合，形成一種介於儀式與行為之間的共時經驗。即使聽不懂他者的語言，仍可透過震動、呼吸與手掌的溫度抵達彼此。

《石頭》象徵著堅韌與永恆，同時也代表著連結的可能性。當身體與觀眾的界線消融，彷彿所有人都成為同一塊石頭的一部分，承載著共同的記憶與感受。在這過程中，我們探索的不只是材料的質感與聲音的延展，而是一場生命的共鳴：每位參與者的身體、情感與思維在此瞬間交織，回返到最初的自然狀態，與他人及大地產生深層連結。

演出的結尾，聲音歸於靜息，眾人的手也緩慢離開；一道共振仍在胸腔裡延續，彷彿整座劇場暫時恢復為一塊巨大的原石，既安靜又飽含能量這件作品深刻探討了自然、自我身份以及事物轉化的狀態。

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The artist utters the word “stone” in multiple languages, each pronunciation carrying a distinct layer of cultural memory and embodied experience into the space. As the words overlap, collide, and elongate, they gradually shift from meaning to the pure vibration of sound. The audience’s breathing and the faint creak of chairs are simultaneously recorded, transforming the entire room into a slowly awakening mineral body.

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As language withdraws and vibration intensifies, the body enters a state of “silent scream”—muscles contracting, the diaphragm trembling violently, sound nearly inaudible yet filled with tension. The artist then invites the audience to come closer, to rest their hands gently on the shoulders, back, ribs, and abdomen, directly sensing the path of vibration: fingertips first touch the waves of breath, then the trembling of muscles, and finally the rebound of the floor beneath. Touch thus becomes a shared language; in the darkness, the gathered audience gradually converges into a “cluster of stones,” where individual boundaries blur and a collective body takes form.

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The performance continues to unfold. A projection, dim and nearly imperceptible, sweeps across the wall, revealing abstract textures of rock strata and mineral veins, layered with the faint sounds captured by microphones. The artist alternates between lying close to the ground and standing upright, directing sound toward different parts of the audience. Those nearby hear the subtle vibrations of the throat and the breath slipping between the teeth; those farther away perceive the compression and release of the entire space. This reciprocal exchange of energy expands the limited black-box theater inward, into an infinite field.

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The context of Ishinomaki (literally, “Stone Roll”) opens a second layer of meaning. The character 石 (stone) in Ishinomaki resonates semantically with the work Stone: a symbol of geology and time, but also a metaphor for communal resilience and cohesion. As the words stone / 石 / いし / … circulate within the same space, the city’s earthquake memories and the present collective breath are momentarily fused, forming a synchronous experience between ritual and performance. Even without understanding each other’s languages, participants connect through vibration, breath, and the warmth of touch.

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Stone symbolizes resilience and eternity, but also the potential for connection. When the boundary between the artist’s body and the audience dissolves, it feels as if everyone becomes part of the same stone—bearing shared memories and sensations. In this process, what we explore is not merely the texture of material or the extension of sound, but a resonance of life itself: each participant’s body, emotion, and thought intertwine in that instant, returning to an elemental state of nature, forming a profound connection with others and the earth.

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As the performance concludes, the sound fades into stillness and the audience’s hands slowly withdraw; yet a resonance lingers in the chest, as if the entire theater has temporarily reverted to a massive, primal stone—silent, yet brimming with energy. This work profoundly explores the states of nature, identity, and transformation.

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策展人Florence的：

Milla她跪在一個木底座上，手上拿著一顆石頭，告訴我們在阿美族語和印尼話裡石頭的名字，再問我們廣東話裡「石頭」怎麼講。然後她請我們其中一個用手按著她的嘴巴。她一邊重複說著這三個詞語，一邊把衣服脫光。她伸手拉在場的人的手按著她的頭、背和心口，像在把她壓下來，又像在給她力量。堅定的聲線穿透正在發力的手掌肉，朦朧的言語成了一個謙遜的宣言。她的皮膚泛紅，身體捲曲成胚胎狀，變成一顆石頭。我看到她的族群、我們的族群、大自然、在爭扎裡對所有傷害的包容、愛和原諒。

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"Milla kneels on a wooden base, holding a stone in her hand, telling us the names of the stone in Amis and Indonesian languages, and then asking us how to say 'stone' in Cantonese. She then asks one of us to press her mouth with a hand. As she repeatedly says these three words, she starts to take off her clothes. She reaches out to the people present, asking them to place their hands on her head, back, and heart, as if pressing her down while also giving her strength. Her determined voice penetrates through the flesh of the hands that are applying pressure, and her vague words become a humble declaration. Her skin reddens, her body curls into a fetal position, transforming into a stone. I see her tribe, our tribe, nature, embracing all the harms, love, and forgiveness amidst the struggle.________"Curator Florence Lam

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