My family came to Taiwan as a result of the Chinese Civil War, and I grew up in a military dependents’ village. Due to government redevelopment policies, I have since moved away, yet the village continues to hold my childhood memories. This personal history is also what led me to participate in this residency.

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The work Reverse-Sequence Parachute is inspired by the history of Qing Shui Military Dependents’ Village, which was once home to an Air Force parachute manufacturing facility. Parachutes are typically designed to descend—from above to below—serving as tools for delivering people or supplies. However, in this installation, constructed from yarn, paper pulp, and bamboo, the parachute is suspended in space and takes on a different role.

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Floating within the space like a sky lantern, wind chime, or jellyfish, the structure transforms its original function. What once bore weight now becomes a dense entanglement of lines, extending and spreading into the corners.

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Through my family’s experience, I have come to understand that many in the older generation of military dependents’ villages carry a deep longing for their homeland. I liken them to reversed parachutes—time flowing backward, lifting them once again into the air, returning to the moment of descent. Yet even if their bodies were to return, the reality remains that their lives had already taken root in the village, occupying the greater part of their time.

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These parachutes are grounded in the village. Unable to return to their place of origin, they are equally unable to detach themselves from the ties that bind them there.