Kiss but hush 燕歸來

任何儀式都有目的，任何失去都有意義。

疫情期間我們面對眾多失去， 我常常能感受到更強烈的動盪和紮根的感覺。

看似天秤的兩端， 但平衡在不可回溯的時間逝去中中應時而生。

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崩塌也是再生的開始。 逝去或許是物理學裡最無法否定的一種變形。就像熵的增加，一切朝著更無序的方向流去， 或許對有些人來說是無意義地瓦解，但對我來說他們是換了一種方式存在於這個世界。 或許面對失落，我們覺得傷痛無邊， 有時也像潮濕的浪一樣在生活中無預警的再次襲來。 也隨著浪一波一波的退去淡去。

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但那些我們失去的、那些已經走遠的，其實都還在。以另外的形式回到我們的身邊。

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永恆，靜默如誓

歷史總是相仿，在維多利亞時代，愛與哀悼被鎖進珠寶裡。髮絲化為護符，銘文成為誓言。 那些低語的用意不僅僅是被聽見，還是一種留聲。

於是，穿越這些幾個世紀，我試圖拾起幾種截然不同的記憶容器— 一則「KISS BUT HUSH」，字樣在灌注了十九世紀的語彙和歷史資料和風格後由AI生成文字物件，

透過二十一世紀的科技類比了遠從十九世紀而來的銘文樣貌，型態不同但情思依舊。 一則以手繪的哀悼銘文從哀悼珠寶中取出，來自十九世紀的無盡思念。

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以多種不同形式和載體串接十九世紀至二十一世紀， 以二十一世紀的真心致敬十九世紀的愛，深沉安靜而濃烈。 以靜默收納愛，於重逢時再次相認，不是以過去的模樣，而是以我們如今的樣子。 重相見，以喜悅。

Kiss but hush──無聲重逢，燕歸來。

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History repeats itself in quiet gestures.

In the Victorian era,

love and mourning were sealed into jewelry.

Strands of hair became talismans.

Inscriptions became vows.

Those whispers were not only meant to be heard—

they were meant to be kept,

to echo, softly, across time.

Across centuries, this work gathers three vessels of memory:

— KISS BUT HUSH

 visually rendered by AI  in the stylistic tradition of 19th-century mourning inscriptions.

 The resulting typographic motif is not a historical quotation,

 but a new visual artifact—a contemporary mourning script,

    shaped through technological means.

— A hand-drawn rendering of mourning jewelry engravings,

 echoing the delicate, solemn lines of the era.

— The motif of the mourning swallow,

 once crafted from hair,

 now reimagined and returned.

These threads weave together the 19th and 21st centuries—

a gesture of tribute from one time to another,

rooted in love that is silent,

and grief that is enduring.

To carry love in stillness.

To meet again,

not as we were,

but as we are now.

Kiss but hush—

a voiceless reunion.

The swallow returns.

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“ PARTED WITH GRIEF TO MEET WITH JOY ”.

以我們如今的樣貌，在喜悅中重逢

。