PALIMPSEST: WOMEN, TEXT, AND THE ACT OF SELF-INSCRIPTION
Artist & Works
Artist & Works
Cinnamon
Cinnamon (she/they) is a writer from China, shaped by years between languages, cities, and selves. Weaving poetry and prose, they craft nonlinear narratives that drift through transnational identity, queerness, disability, and the fleeting intimacies of urban life. A glimmer of light, a glance between strangers, the hush of seasonal change — their work begins in quiet moments and unfolds into deeper meditations on belonging, memory, and connection. Attuned to the subtle and the shifting, Cinnamon writes with a tenderness that resists fixed form. Their practice also reaches beyond language, exploring image, space, and sensory experience as ways of expressing what words leave unsaid. In the spaces between genres and identities, they trace the beauty of becoming — layered, liminal, and alive — inviting the reader to pause, to feel, and to notice what often goes unseen.
Fleeting Territory： A Soft Claim to Space, Self, and Presence (2025)
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Sheer Fabirc
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Fleeting Territory is a spatial-poetic installation that invites those who enter into an intimate, impermanent space shaped by sheer fabric. Suspended from above, the fabric forms a soft, breathable architecture — a temporary room that both holds and exposes. Those who enter are invited to walk around and within it, becoming momentary inhabitants of a space that is porous, personal, and quietly defiant.
Born from a written poem, the work extends beyond the page — giving language form, dimension, and tactile presence. Inscribed on the fabric is Love Manifesto, a poetic text that acts as a declaration of selfhood, desire, and relational being. Echoing a constitution or claim to land, the piece explores what it means to carve out space for one’s own subjectivity — to stake a quiet, persistent claim to presence amid shifting geographies.
The use of sheer material speaks to the tension between visibility and vulnerability, presence and ephemerality. Fleeting Territory is both sanctuary and statement — a temporary, touchable claim to space, softness, and voice in a world that often denies all three.
Echoes of Expired Silence (2025)
Sulfuric acid paper printedEchoes of Expired Silence is a four-part visual-poetic work that renders emotional intensity through quiet form. Composed of bilingual poems written over several years, each piece transforms relational experience into text-based landscapes - spiraling, drifting, folding in on themselves. Text becomes texture, language becomes motion: each word moves like a wave or breath, carrying emotional residue that language alone can’t hold. Through kinetic typography and recursive structures, the work invites a bodily mode of reading - a slow descent into feeling, memory, and absence. Chinese and English intertwine, not as translation, but as tension - exposing the gaps, overlaps, and failures of language in articulating love. Echoes of Expired Silence lingers in the space between what was once unspeakable and what still reverberates — the echo not of voice, but of feeling that refuses to fade.
Echoes of Expired Silence (2025)