Artwork description: Becoming in Blue III: Negotiation is a sculptural glass work composed of multiple blown elements assembled through a rule-based process. Each component is positioned according to conditions of balance, contact, and orientation, allowing the final structure to emerge through physical negotiation rather than predetermined design.
As each element is added, it must respond to the weight and position of the surrounding forms. This process creates a structure in which no component exists independently; stability is produced collectively through mutual support.
The work explores negotiation as both a material and conceptual condition. Individual forms remain recognisable, yet their identities are altered through connection with others. Existing between vessel and sculpture, stability and instability, the work reflects on how identity can be continuously reshaped through relationships while still retaining a sense of individuality.
Artwork description long: *Becoming in Blue III: Negotiation* is part of the *Becoming in Blue* series, which began with my interest in blue-and-white porcelain as a cultural form that has travelled, adapted, and accumulated different meanings across histories and places. Rather than treating blue-and-white porcelain as a fixed symbol of tradition, I use it as a starting point to consider how cultural identity is continually reshaped through migration, exchange, adaptation, and reinterpretation. Growing up in Taiwan, where cultural identity has been formed through multiple histories of migration, colonisation, and exchange, I became interested in the idea that identity is not something stable or singular. In this series, familiar blue-and-white vessel forms are translated into blown glass, shifting them from solid ceramic objects into transparent, fragile, and physically responsive structures. This material transformation allows the historical language of the vessel to become unstable and open to change. In *Negotiation*, multiple individually blown glass elements are assembled through a rule-based process rather than according to a predetermined final design. Each element must respond to conditions of balance, contact, weight, and orientation. As new components are introduced, their positions are determined by the forms already present, creating a structure that develops through continuous adjustment and mutual support. Although each element retains its own recognisable form, it can no longer function independently once incorporated into the larger composition. Its identity is altered by its relationship to the surrounding elements. The sculpture therefore exists between individual and collective form, vessel and sculpture, stability and instability. The title *Negotiation* refers both to the physical process of constructing the work and to the broader way I understand identity. Stability is not presented as a fixed condition, but as something produced through relationships, compromise, and continuous adaptation. Through glass, the work considers how individual identities can remain visible while being continually transformed through connection with others.
Artwork description long: *Becoming in Blue III: Negotiation* is part of the *Becoming in Blue* series, which began with my interest in blue-and-white porcelain as a cultural form that has travelled, adapted, and accumulated different meanings across histories and places. Rather than treating blue-and-white porcelain as a fixed symbol of tradition, I use it as a starting point to consider how cultural identity is continually reshaped through migration, exchange, adaptation, and reinterpretation. Growing up in Taiwan, where cultural identity has been formed through multiple histories of migration, colonisation, and exchange, I became interested in the idea that identity is not something stable or singular. In this series, familiar blue-and-white vessel forms are translated into blown glass, shifting them from solid ceramic objects into transparent, fragile, and physically responsive structures. This material transformation allows the historical language of the vessel to become unstable and open to change. In *Negotiation*, multiple individually blown glass elements are assembled through a rule-based process rather than according to a predetermined final design. Each element must respond to conditions of balance, contact, weight, and orientation. As new components are introduced, their positions are determined by the forms already present, creating a structure that develops through continuous adjustment and mutual support. Although each element retains its own recognisable form, it can no longer function independently once incorporated into the larger composition. Its identity is altered by its relationship to the surrounding elements. The sculpture therefore exists between individual and collective form, vessel and sculpture, stability and instability. The title *Negotiation* refers both to the physical process of constructing the work and to the broader way I understand identity. Stability is not presented as a fixed condition, but as something produced through relationships, compromise, and continuous adaptation. Through glass, the work considers how individual identities can remain visible while being continually transformed through connection with others.