In the second part of the work, I extended the pattern symbols extracted from the embroidery works and imitated Grandma's working style to create. As long as I can remember, these insoles with different patterns have accompanied me, and now I have converted Grandma's endless and stitch-by-stitch work. In the process, I have consumed a total of 6,600 metres of metal wire to weave these extracted patterns and make them into gloves, socks, and hats.

I tried to imitate Grandma's working style over the years and feel the love in her heart. In the creation of this group of works, it was not a simple imitation of the appearance and patterns of traditional insoles, but the recombination and redesign of common traditional elements. From material changes occurred from planning to actual making, and then to the combination of works and my wear when wearing, for me, it was not only the change in visual presentation or materials but also the realization of a new attempt of feeling and creation when wearing. The change of works and my identity realizes a new relationship and coordinate in space.I use this method to realize the interaction between jewellery and people. The copper wire material greatly increases the difficulty of my making and also leads to frequent injuries. I hope that this way of imitation and transformation will resonate with the viewers and inspire people to pay more attention to life and the precious emotions between people.

My work is private, they come from emotional old objects and explore how many stories can be explored and developed. and I have no intention to consume a certain emotion or emphasize a specific concept. I want to feel it and enjoy the wonderful connection between it and the changed materials, thus protecting it from potential threats while being under its protection. While it was changing on my fingertips, it was also observing me.