'Hold Space' (2024) is a multimedia installation that explores the intermediate area of experience between mother and child — a liminal space where the boundaries between self and other, inside and outside, and fantasy and reality begin to form but remain unstable. Drawing from Donald Winnicott’s theory of potential space, the work considers how this formative relational space, often idealised as a site of safety and creativity, is also profoundly vulnerable to contamination. Contamination does not simply imply impurity but signals an intrusion, rupture, or collapse within the psychic and bodily boundaries that shape subjectivity. The installation comprises organic sculptural forms, projected video, and ambient sound, each contributing to an atmosphere of holding and breaking, containment and collapse. The sculptural forms, cast in plaster, evoke the body's vulnerability — the material acting as a fragile skin or failed container that preserves and degrades under pressure. Like the maternal body that holds but also imprints, the plaster absorbs touch, fractures easily, and remains porous — embodying the inevitable contamination that occurs when one body attempts to hold another. Projected video further unsettles the boundary between interior and exterior. Abstract, shifting vulvic forms pulse and distort, conjuring imagery of openings, closings, and breaches — a bodily space that is simultaneously generative and prone to rupture. The soundscape, composed of a mother’s humming and cooing, fills the space with pure affect — a sound that precedes language but carries the weight of psychic residue. The hum vibrates like a dull interior pressure, creating a sonic field that feels both containing and invasive. At the same time, the coo punctuates the space with a high, breathy fragility that suggests excess, desire, and intrusion. The sound does not simply soothe; it seeps, presses, and saturates, producing a sense of maternal presence that feels nourishing and enveloping. Together, the materials and sound embody contamination as a condition of care, where the maternal attempt to contain, soothe, and form the child also inevitably infiltrates, overwhelms, or ruptures the boundaries of the self. In this space, care and contamination, connection and rupture, holding and intrusion become indistinguishable. The installation does not aim to resolve these tensions but rather to materialise them — to render visible and audible the psychic residues of maternal attachment and the inevitable failure of containment that shapes our earliest experiences of relational being.