嫁妝dowry
Ceramic, air dry clay, epoxy, crochet
7” x 9” x 1”
2025
Dowry reimagines the historical logic of dowry from property and transaction into memory and care. Instead of land, gold, or livestock, this ceramic relief gathers small, tender objects that map a shared life, inside jokes, domestic rituals, and ordinary devotion. Each compartment holds a fragment of intimacy, suggesting that what we bring into marriage today is not wealth but attention, labor, humor, and history. Made as a wedding gift for Tsou's best friend, the piece reframes dowry not as exchange, but as offering, a quiet archive of love assembled by hand.
I am other ppl's hell
Ceramic
4.5” x 1.2” x 9”
2025
I Am Other People’s Hell reimagines The Gates of Hell through the lens of contemporary social life. In place of The Thinker, a figure scrolls endlessly on a phone, while sex positions and cheerleader poses replace heroic torment with performative intimacy and choreographed desire. The surface is playful and pastel, almost decorative, yet the compartments trap bodies in repetitive gestures of display, distraction, and judgment. The back is etched with childlike cosmologies of heaven and hell, suggesting that morality itself may be a social construction, a system we inherit, perform, and use to discipline one another.
Conversations with here you me & them Vol.1 -
Why all my legs feels like really craved love sick
Ceramic, acrylic, crochet, embroidery
35” x 40” x 20”
2024
This is the first piece from the sculpture series "Conversations with here you me & them." The work contains small-scale ceramic sculptures and organic shaped crochet created by the artist from an unconscious and unplanned process, and text from an unconscious writing exercise (from movement artist Sigrid Lauren's "How to throw a body away" workshop) embroidered on the crocheted fabric. Through gentle, semi-abstract visual elements, text, and architectural structures, Tsou attempts to piece together seemingly scattered and random lines and symbolic symbols, showcasing a miniature, surreal world generated by the subconscious through visual and textual products, manifesting the flow of desires, intuitions, and illusion.
Igigi Planet – Creatures Unknown
千絲萬縷，萬念俱灰
10” X 10” X 7”
Ceramic
2024
In collaboration with Dancer/Choreographer Yung-Chieh Kao, Tsou was invited to bring a creature from Kao’s imagination—3D modeled by 張秉蓁—into physical form as a ceramic sculpture, giving it tangible presence in reality. Tsou adjusted the sizing to ensure the piece could stand steadily while also functioning as a piggy bank. The process involved time and many studio conversations, culminating in intricate doodles covering its surface—an homage to the collective human consciousness. This work earned Tsou the honorary title '千絲萬縷，萬念俱灰' (A Thousand Threads, A Million Lost Thoughts).
Statement by Yung-Chieh Kao-
Inspired by the theory that aliens created humanity, this concept reimagines ancestor worship in a future where technology reshapes tradition. Could future rituals involve transferring human consciousness to another planet? The artist envisions Igigi, a world shaped by this idea. Its creatures—mutated avian forms inspired by temple rooftop guardians from Eastern traditions—bring this myth to life through 3D modeling. The result: Igigi Planet – Creatures Unknown.
I want whatever hurt you that caused you to hurt me to stop.
8.5” X 5” X 6.5”
Ceramic, embroidery
2024
I want whatever that hurt you that caused you to hurt me to stop is a ceramic and embroidery sculpture that constructs a surreal space filled with everyday objects: books, notes, AirPods, VHS tape of Tsou's favorite films, an armchair with half-knitted yarn, and paintings and drawings on the walls. The artworks on the walls are original pieces Tsou created, grounding the scene in her personal experience. Most of the objects are ones she own in real life, while others are drawn from childhood memories or imagined desires.
At the center of the piece is an embroidered message, sewn into the ceramic, which reads: “I want whatever that hurt you that caused you to hurt me to stop.” This phrase encapsulates the emotional core of the work—a plea for closure and a desire to break the cyclical nature of pain.
The scene is an introspective space where a heartbroken individual reflects, consumes art, and writes, ultimately finding a path toward healing. The surreal composition of the scene emphasizes the complexity of emotional recovery: a mixture of the familiar and the dreamlike, where memory, art, and emotion intersect. The space exists not only as a moment of emotional turmoil but as one of transformation, leaving the viewer with the hope of resolution and release
