Glitter Ash serves as a worklog or production report, collating the ideas behind the ‘production’ of Magic Soap, exploring the concepts of magical girls, witches, and witchcraft, and rethinking the politics of naming. The artist refers to herself as Maker T in the publication, tracing her interactions with Maker X, who makes customised silicone moulds, reviewing the evolution of magical girls in the anime history and the dark history of witch-hunts, and focusing on the close relationship among magical girls, consumerism, and consumption. ‘For magic consists in this, the true naming of a thing,’ writes Ursula K. Le Guin. The publication also traces the meanings, contexts, and ambiguities of names such as witch, majo (magical woman), wizard, and mage to trace the historical context of magic and witchcraft.

Commissioned by Para Site for Post-Human Narratives—In the Name of Scientific Witchery

《閃閃灰燼》可被視作工作誌或生產報告，整理構思和「生產」《魔皂》背後的想法，探討魔法少女、女巫、巫術等概念，重新省思命名的政治性。藝術家在文本以「生產者T」自稱，回溯她與從事模具訂製的「生產者X」之間的交集、爬梳魔法少女在動畫史的設定演變、中世紀的獵巫黑暗歷史，聚焦魔法少女與消費和消耗的緊密關係。娥蘇拉·勒瑰恩（Ursula K. Le Guin）寫道：「因為魔法就在於此，即對事物的真正命名。」文本亦翻查了女巫、魔女、巫師、魔法師等名字的意涵、脈絡和歧義，勾勒魔法和巫術的歷史脈絡。

受Para Site藝術空間委託為「後人類敘事——以科學巫術之名」製作