這是一件行為與裝置交織的現場作品，探討人們如何透過身體的參與，將對「理解」與「共感」的想像，轉化為可以被感受的真實重量。
 

藝術家以竹竿作為身體與建築之間的延伸結構，邀請觀眾透過「水」將內在情緒具體化。這些承載著個人感受的水袋，被懸掛並串連於竹竿之間。藝術家與觀眾共同舉起、平衡與傳遞這些重量，並在美術館戶外如迷宮般的空間中緩慢移動，使竹竿與身體逐漸形成一種「集體流動建築」—一座由情緒、重量與呼吸共同支撐的臨時庇護所。
 

This live work interweaves performance and installation to explore how the imagined capacities for understanding and empathy can be transformed into a tangible, bodily experience of weight.

Using bamboo poles as an extended structure between the body and the architecture, the artist invites participants to materialize their inner emotional states through water. These water bags, each carrying personal feelings, are suspended and linked along the poles. Together, the artist and participants lift, balance, and transmit this shared weight while slowly moving through the museum’s maze-like outdoor environment. In doing so, bamboo and bodies gradually form a collective, mobile architecture—a temporary shelter sustained by emotion, weight, and breath.

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在這個過程中，人們透過身體直接感受他人的重量，重新理解「承擔」的意義。當重量被共同分擔、彼此支撐時，理解並非來自語言，而是在行動與感受之中悄然發生。

作品回應當代社會中普遍存在的焦慮與孤立狀態：當外在世界快速變動，公共空間逐漸成為消費與流通的場域，我們的內在卻缺乏被容納與承接的地方。

《共同承載》試圖重新開啟這樣的空間——讓人們透過一起承擔與感受，在共享之中找到一種暫時而真實的歸屬。

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The artist, dressed in a dark suit, stood motionless on the shore holding a book about the islands of Japan. She invited the audience to open it randomly and select a sentence that resonated with them in that very moment.

The chosen line—“The stone melts into the water”—echoed her previous work Stone, performed in Ishinomaki, and created a conceptual correspondence with the geographical relationship between the bay and Yunoshima Island.

After the selection, the artist buried the book in the sand using a shovel, symbolizing the return of language and knowledge to the earth. She then removed her suit, shirt, vest, and shoes one by one, burying them beneath the sand to form a small mound resembling the remains of a human body—signifying transformation and the body’s reintegration into the land.

Walking into the sea, the artist soaked the hem of her trousers with seawater and returned to pour it over the sand mound and buried garments, enacting a double gesture of cleansing and nourishment. Finally, she lay face-down upon the sand while inviting the audience to pick nearby grasses and moss to cover her body, merging it with the surrounding landscape.

In the closing ritual, participants were invited to step on the moss-covered body and pluck a flower placed upon it. Through these tactile and participatory gestures—touching, stepping, taking—the audience shifted from observers to co-creators, activating an exchange of energy between body, landscape, and memory.

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