Sweet Dreams is an unrehearsed, embodied, site-responsive, and relational performance. My exhausted body, marked by insomnia, mental heaviness, and physiological depletion, is both subject and material. BonBon Town, a former sugar factory, creates tension: a site of sweetness, production, and energy meets a body that is sleepless and struggling. The title becomes ironic; sleep is not sweet but a battleground.

I deliberately wear a stylish, long, fitted black dress. Elegant and formal, it acts as a controlled second skin, contrasting with internal chaos while its black surface absorbs dust and stains. Against the dirty industrial warehouse backdrop, the dress looks polished and out of place, heightening the paradox of sweet dreams in a place of labour.

The pillow and pillowcase are charged objects. Meant for rest, they instead receive sweat, dirt, and struggle. The white pillowcase contrasts with the black dress: soft and vulnerable against composed and fitted, private collapse against public elegance. Both become records of the performance. The dress and pillowcase carry the residue of exhaustion and the environment. Site, audience, artist, and object complete the witnessed narrative. This makes the invisible struggle visible and shared.