In the work series, Floating Body, Yi Ting Hsu uses the female body to form a perspective where subjectivity and objectivity overlap, and she also develops a surveillance mechanism that is concealed internally.
The artwork’s executor takes a “top-down” position to gaze down at the audience from a distance, while members of the audience see the dominant party from continuously shifting viewpoints. The surveillance mechanism shifts between the gazing side and those being gazed, which is followed by the formation of a social structure with sites of various sizes where the game is carried out.
Peanuts from 12 performances piled up on the ground of the museum successively. As the audience stepped on them, the peanuts were kicked back and forth at the boundary between exhibition rooms. It was kicked out by the audience and performers, and then kicked back to this exhibition space by the museum 's volunteers.
In the exhibition space, the results of the interaction between audience and peanuts are arranged peanuts, collect peanuts, and slippery peanuts from top to bottom.
Performance is 60 minutes long.
Floating Body – Up the Wall is a 60-minute performance piece with the performer positioned on a wall and chomping on peanuts and tossing shells and crumbs down. In a high-up position, food scraps are thrown down from a high vantage point, which disrupts the site’s sense of sanctity.
Sounds of peanuts thrown are heard in the space, but hardly any reverberation is made from the crisp sounds made when they fall to the floor. Seemingly sharp and hard, they barely evoke any echo, and as time continues to progress, they turn into crumbs and dusts underneath the audience’s feet. A fan in the exhibition space callously blows them all over the exhibition space, as they flutter everywhere beyond control. However, they continue to linger and exist, until they are able to take action at the one that is high up.