息 (2022)
這裡是條遭到放逐的生態腸胃，綿延近44公尺，隱匿於地下之中。他的浮現乃彼時政治競選的諾言與交通運輸系統上更迭的證物。市民誤以為他是死寂的水泥，是邊陲的破碎風景，難以貢獻或在地方景觀的形塑上推進。一塊不受寵的荒地，他的沈默卻迎來了一批新住民。
偶然之際，我開始追尋隱匿在廊道裡的生態信息，各個物件生命的誕生及殞滅，捕捉著他們的姿態與氣息。我開始幻想他們的航行，與他們相互纏綿，他們的旅程始於何處，又往哪去？
這條長廊天天上演的神秘生態劇場，驚喜著我的內心。透過撿拾與收藏作為實踐，在凝視鏡頭的此地，覺察自我與週遭空間緊密的呼吸。這裡如異質空間的時間，上了水閘般地緩慢匍匐且不連續，無任何外力可以將它推進或延遲。該地的一動一靜，一光一影，似是對主流現實存在的抵抗。最終，他仍迴避不了再度被記起的運命，而我紀念收復著此地剩餘的風景。
Rhythm of the Line (2022)
There is an ecological gastrointestinal tract that has been exiled. She stretches for nearly 44 meters and is hidden underground. Her emergence was evident in the promise of the political campaign and the changes in the transportation system. People mistakenly thought that she was a stubborn cement and a fragmented edge landscape, which was hard to contribute to shaping the earth's topography. However, the silence of this barren area nourishes new residents to arrive.
Occasionally, I began to pursue the ecological network that is concealed. By capturing the birth and death of various creatures/objects, I illuminate their liveness and rhythms. I began to fantasise about their path, then companioned by them. Where did their journey begin? Where did they move forward?
In the mysterious ecological theatre, lives perform diversely and surprisingly. Through the practice of archiving and collecting, I become conscious of the intimate breath between the flesh and the surroundings while seeing. The underground is similar to the time of heterotopia. Time moves slowly and discontinuously as if there is no external force that can enhance or delay. The movement, the silence, the light and the shadow of it seem to be a resistance to the real. In the end, she could not avoid the fate of being remembered again; and I continue to memorise and recapture what was left behind.
There is a tract of exile biome that stretches for nearly 44 meters and is hidden underground.
花之器 (2016-2022)
作品《花之器》（2016-2022）是藝術家許曉薇對生命經驗的轉譯，在長期缺愛、被忽視的成長情境下，所投射的離異現實的狀態。當儀式化的身體移轉成容器，花朵的陰柔與堅硬將肉軀幻化為雕塑，再以影像逐格紀錄。而多組外物纏繞介入身軀後所共組姿態，最終匯聚成為《花之器》一書所收錄的影像創作。
作品概念源自於亞伯拉罕·馬斯洛（Abraham Harold Maslow）在1943年提出的心理學觀點—需求層次理論（Maslow's hierarchy of needs）將人的行為動機分成五項需求指標，最基本的為對生理和安全的需求，其目的是為了生存和繁衍。若人類的成長過程中缺乏該需求，他將難以追求愛和被人尊重，更遑論達到精神層次的自我實現。反之，為了滿足基本的生存慾望層次，主體邀請有機體對存有的介入與寄生，而交融之下亦可使身體茁生成似人非人、似獸非獸的物質之間複雜糾纏狀態。
藝術家對自我身體的挖掘與窺視，以自「身」作為展演及演繹的手段，束縛、綑綁、凹折的軀幹所帶來影像的觸覺，在一格格的影像畫面中挑釁、挑戰、感性地解放社會承襲的陽剛凝視與抑鬱情感。該系列呈現與紀錄自身身體的行為與政治，轉譯生命在長時間下的沈澱，亦是藝術家對臺灣社會中性別結構以及陰性氣質如何建構之下的探問。
The Vessel that Blossoms (2016-2021)
The artwork "The Vessel that Blossoms" by the artist Siow-Wey Hee reflects her life experiences, portraying feelings of isolation due to a lack of love and neglect during her upbringing. The images capture the transformation of ritualized bodies into vessels, where the fragility and toughness of flowers turn flesh into sculptures. This process is documented frame by frame.
The inspiration for the work comes from Abraham Harold Maslow's psychological theory, the Hierarchy of Needs, proposed in 1943. This theory categorizes human motivational behavior into five hierarchical needs, starting with basic survival needs. The artwork explores how a deficiency in these basic needs can make the pursuit of love and respect challenging, hindering the achievement of self-actualization.
To express this internal conflict, the artist incorporates external objects that intertwine with bodily postures, resulting in visual creations within the series "The Vessel that Blossoms". The complex relationship between survival instincts and the desire for love is represented through the entanglement of materials, creating intricate states resembling both human and non-human characteristics.
The artist uses her own body as a canvas to challenge and liberate the tactile sense of imagery, exploring constraints, bindings, and contortions. The series serves as a record of the artist's actions and the politics of her body over an extended period. Additionally, it delves into how gender structures and feminine qualities are perceived in a broader cultural context.
櫃子裡的人」(2012-2014）
人自出生以來便被套上無形的枷鎖桎梏,須遵循社會規範,以符合多數人認同的行為模式與價 值觀。長期束縛在肉體裹的靈魂,偶而出現掙扎與困惑。 於是褪下了偽裝的外表,隱匿藏身於 衣櫃的私密空間裡,進行著自虐般的試鍊興玩樂。在凌唐壓迫的考驗與性的狂喜下,進而尋求 內在的平衡寧靜點。透過入櫃與出櫃,探索生命的核心意義。
My secret playground (2012-2014)
Since our birth, we are bound by invisible chains, instructed to obey social norms, to behave in ways expected by society. Our soul, bound in our bodies, may become confused and struggle. Through artist's exploration in her closet, a private space, she tried to look for answers while going into and coming out of the closet, while recording everything by taking photos of herself
「有容乃大」(2011）
在有限的居家空間裡,嘗試在不同的角落或容器中發想,以自拍方式展現不同的生活趣味,讓自己生活更加怡然,自得其樂。
The Container (2011)
Taking self-portraits in the confines of her own home, especialy in various corners and containers at the house, the artist try to adjust to the day-to-day high pressure city life style by making fun of.