除了直接翻譯之外，它沒有自己的中文名字。好像毛絨、睡眠、商標、廠商、動畫片一樣，沒有歸屬，並不需要中文特別的連結。這樣分散的甚至四散的圖像從世界各個地方趕來，不知出於誰的一念、一衝動被帶回了家，變成了一小塊組成我童年記憶的拼圖。

 

The materials are the actual old toys that I had in my childhood. In this work, I reassembled them by cutting and sewing. I regard this as a process of deconstruction and reconstruction of my personal memory narrative.

 

In a way, the characters of these toys have different cultural cuteness, both local and exported cultures. They constituted the very beginning of my emotional attachment and represented the most attractive symbolized cuteness within a period of innocent and immaturity. In another way, this work of remake is also implying how people’s memory works. Toys’ fragments resemble memory fragments, they intertwined and disordered rather than clear and complete.