WE WERE ALWAYS MORE THAN SKIN AND GLASS

I wanted to catch the instant the seam between body and device stops being a joint and reveals itself as a living channel. I fused a piano‑black resin graft with a fiber‑optic vein lattice and let “burning ice” lick the rails so touch leaves frost instead of heat; the subway’s steel grid fractures into smaller tiles around her arm to show the world reorganizing to her new physics. Look for the palimpsest at the grip point where three times overlap—old oil stain, active frost‑flame, future crack—so the viewer feels the ecstatic vertigo of a boundary that was never real.