By way of an analysis of Simone Leigh’s You Don’t Know Where Her Mouth Has Been (2017), this essay argues that by hybridizing the cowrie and watermelon, Leigh creates her own natural history of these biological forms that disorders the rigid taxonomic classification on which systems of discrimination rely. The resulting hybrid cowrie not only defies classification, it also forms a folded architecture that facilitates a Deleuzian reading. The hybrid cowries, by way of their capacious construction and narrow slits, evoke an interiority that enables metamorphosis. By way of the analysis of the works of Cupboard (2014) and Cowrie (Pannier) (2015), the essay further investigates architectural forms. It considers the intricate interactions between the hybrid architecture of natural forms, such as cowries and watermelons, and human-fabricated forms, such as teleuks and crinolines.

中文翻译：

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内在性、变形和西蒙·李的混合贝母

通过对西蒙·李 (Simone Leigh) 的《你不知道她的嘴在哪里》 (You Don't KnowWhere Her Mouth Has Been) (2017) 的分析，本文认为，通过将贝母和西瓜杂交，李创造了她自己的这些生物形式的自然历史，打破了严格的分类学分类。歧视制度依赖哪些制度。由此产生的混合贝母不仅无法分类，而且还形成了一种折叠结构，有利于德勒兹式的阅读。混合贝母凭借其宽敞的结构和狭窄的缝隙，唤起了一种能够变形的内在性。通过对Cupboard（2014）和Cowrie（Pannier）（2015）作品的分析，本文进一步探讨了建筑形式。它考虑了自然形式（例如贝壳和西瓜）的混合建筑与人类制造的形式（例如teleuks和crinolines）之间复杂的相互作用。