賽馬會「童理撐」性暴力受害人社區教育計劃
Jockey Club "Back U up" Community Education Project for Child Survivors of Sexual Violence
Jockey Club "Back U up" Community Education Project for Child Survivors of Sexual Violence
網上展覽 Online Exhibition
展覽內容涉及性 / 別暴力，敬請留意。
This exhibition contains descriptions of gender based violence.
Visitor discretion is advised.
策展人語 Curatorial Statement
不知道你有否想過，日常生活中，由我們的自拍照、衣著，到生活空間如家居、運動場所、超級市場，再到家務分工、商品包裝、流行文化......等等，其實都與性別有關？在個人成長的不同階段中，一些如人際關係、空間設計、社會文化的因素如何持續影響著我們的性別觀念，當中又如何培養出性／別暴力的文化？
這次展覽與黃嘉瀛共同策展，與團隊一起探索，探討性別與日常生活中的衣、食、住、行等四方面的關聯性，以及這些關聯如何影響我們對性別的理解，邀請了不同藝術家，在社區和生活中進行觀察，理解性暴力及性別暴力中權力的流動，從微觀角度，洞察生活中性暴力文化的形成及演變，並將成果結合藝術展示。展覽同時會收集觀眾對性別的觀察，集思廣益，觀眾的參與和貢獻將成為展覽的一部分。
「解除封印」，讓我們重新看見生活中性 / 別暴力的存在。隱藏著神秘力量的性別啊，在我面前顯示你真正的力量吧！
Have you ever wondered if everything in our daily lives, from our selfies and clothing choices to our living spaces like homes, sports venues, and supermarkets, as well as the division of household chores, product packaging, and popular culture, is actually connected to gender? How do factors like interpersonal relationships, spatial design, and social culture continue to influence our understanding of gender throughout different stages of personal growth? And how do they contribute to the cultivation of a culture free from gender based and sexual violence?
共同策展人 Co-curator
黃嘉瀛 Wong Ka Ying @hedoesntgiveashit
黃嘉瀛，香港藝術家及策展人，於2013年獲香港中文大學藝術學士及於2021年獲香港浸會大學視覺藝術哲學碩士，現為香港中文大學文化研究博士生。策展項目、藝術創作及寫作散見於香港及其他城市之報刊、美術館及社區空間。
Wong Ka Ying (b. 1990) is an artist-curator and writer based in Hong Kong. She received her BFA degree from the Chinese University of Hong Kong in 2013 and the M.Phil. in Visual Arts from the Hong Kong Baptist University in 2021. She is currently pursuing her PhD degree in Cultural Studies in the Chinese University of Hong Kong.
A keen observer of the art community and society, Wong critically reflects on the various social, cultural, and gender issues today through using a wide range of media from performance to social media platform. Wong expresses passion in writing, curating and art education. She made an outward appearance on various public sharing, seminars, panel discussion and talks, actively engaging with the communities and art lovers.
In 2016, she formed the first female artist duo “COME INSIDE” with Hong Kong artist Mak Ying Tung as a way to attack the art world.
A keen observer of the art community and society, Wong critically reflects on the various social, cultural, and gender issues today through using a wide range of media from performance to social media platform. Wong expresses passion in writing, curating and art education. She made an outward appearance on various public sharing, seminars, panel discussion and talks, actively engaging with the communities and art lovers.
In 2016, she formed the first female artist duo “COME INSIDE” with Hong Kong artist Mak Ying Tung as a way to attack the art world.
參與藝術家及作品 Artists & their artworks
廖家明於2019年從香港城市大學畢業並取得創意媒體藝術碩士學位。
他的創作從攝影延伸至錄像、裝置、表演等媒介。他最近的作品關注酷兒、身體、身份與語言。他視自己為穿梭於不同文化、媒介和維度之間的流浪者。
Liao Jiaming received his MFA in Creative Media from City University of Hong Kong in 2019.
Starting from photography, his creative practice expands to include different media such as video, installation and performance. His recent work focuses on queerness, body, identity and languages. He sees himself as a nomad, moving through different cultures, media and dimensions.
更好的人｜Better Person
錄像 Video
尺寸可變 Size variable
2019
我們會為一張「好看」的自拍花費多少時間？似乎永遠都未算最好。
How much time will you spend on taking a “good” selfie? It seems to be never good enough.
模特（一）｜Model I
混合媒介裝置 Mixed-media installation
尺寸可變 Size variable
2024
藝術家從交友軟件及互聯網上搜集圖片，用來訓練人工智能模型。理論上這個人工智能模型能夠生成最受人喜愛的圖片，然而它們看起來卻像某種扭曲的現實。基於這些圖像，藝術家創作了一種從賽博世界溢出的新身體形態。今次它能收穫多少個讚好？
The artist collected images from dating apps and the internet, with which he used to train an AI model. The AI model is capable of generating images that theoretically look like the most popular and likable images, and yet they look as if a distortion of the reality. Based on the images, the artist creates a new form of body that overflows from the cyber world. How many likes does it get this time?
徐世琪 Angela Su
徐世琪的創作透過形態的蛻變、轉變與混合，關注身體的感知與表象。她的創作以研究為基礎，時常以繪畫、錄像、髮絲刺繡、表演及裝置的等形式呈現，檢視人類的存在與技術的發展之間的相互關係。虛實交織的錄像散文和文本是她作品中的核心元素。徐世琪的創作關注醫藥學歷史，她質疑生物醫學的主導論述，持續思考科技對過去、現在及未來的影響。
徐世琪現於香港居住和工作。
Angela Su’s works investigate the perception and imagery of the body, through metamorphosis, hybridity and transformation. Her research-based projects materialise in drawing, video, hair embroidery, performative and installation works, which explore the interrelations between our state of being and the advancement of technology. Central to these projects are video essays and texts that weave together fiction and facts, reality and fantasy. With focus on the history of medical science, her works question the dominant biomedical discourse, and contemplate the impact of technology on the past, present and future.
Su currently lives and works in Hong Kong.
Sewing Together My Split Mind
髮繡布本 Hair embroidery on fabric
56 x 51 x 4.5 cm
2021
髮繡在中國晚清時期傳統上是由尼姑所從事的手藝。這些女性不識字，但手藝靈巧，創作了觀音的虔誠形象，以表達她們的信仰。《Sewing Together My Split Mind》這一系列作品顛覆了這種傳統實踐的家居性質，將身體部位的縫合呈現為抗議的姿態、叛逆的行動以及言論自由的壓制。這一系列作品提到了縫合身體部位作為激進抗議行動的表演性行為的歷史，比如2014年馬努斯島被拘留尋求庇護者的唇部縫合行為、藝術家與愛滋病倡議者大衛·沃納羅維奇（1989年）以及表演藝術家肯卜拉．普法勒（1992年）的陰部縫合行為。此外，《Sewing Together My Split Mind》中的圖像實際上是縫合技術的指導，其中存在著治癒和傷害之間的含蓄矛盾。
Hair embroidery is traditionally a medium practised by lay Buddhist women in late imperial China. These women were illiterate yet crafty, and created devotional images of the female bodhisattva (Guanyin) to enunciate their faith. Subverting the domesticity of this traditional practice, Sewing together my split mind represents the sewing of body parts as gestures of protest, acts of rebellion and the suppression of freedom of speech. The series alludes to the history of stitching body parts as performative acts of radical protests, for example, the lip sewing of detained asylum seekers in Manus island (2014), and artist and AIDS activist David Wojnarowicz (1989), as well as the vagina sewing of performance artist Kembra Pfhaler (1992). In addition, the images in Sewing together my split mind are actually
The Sewing Machine
單頻道錄像，4' 9" Single channel video, 4' 9"
尺寸可變 Size variable
2016
《The Sewing Machine》檢視女性身體在勞動者、消費者、物體和機器角色中的地位。作品展示了紐約地下電影製片人理查德．科恩（Richard Kern）在1980年代拍攝的短片《Sewing Circle》的片段，片中肯卜拉．普法勒（Kembra Pfahler）快樂地將她的生殖器縫合， masochistically（受虐狂地）否認了她自己的身體愉悅，並拒絕了「傳統」女性身體。視頻和徐氏的刺繡作品都通過縫紉行為來審視女性身體，從順從的訓練到顛覆性的身體改造行為。然而，普法勒的勇敢抗拒行為最終被我們的消費文化劫持，剝奪了所有的顛覆性，將她的身體變成了另一個迎合消費者慾望的物體。
The Sewing Machine examines the role of the female body as a laborer, a consumer, an object and a machine. It features a footage of New York underground filmmaker Richard Kern’s 1980s short film Sewing Circle, in which Kembra Pfahler happily had her genital sewn shut, hence masochistically denying herself bodily pleasures, and rejecting the ‘conventional’ female body. Both the video and Su’s embroideries examine the female body through the act of sewing, from a training of submission to the subversive act of body modification. Pfahler’s brave act of defiance however, was inevitably hijacked by our consumer culture, stripping it from all its subversion, turning her body into yet another object fit for the consumer’s desire.
徐皓霖 Hou Lam Tsui @hltsui.png
徐皓霖（生於1997年）現於香港生活及工作。她的作品涵蓋多種媒介，包括流動影像、裝置、雕塑和文字，創作實踐圍繞性別、情感、身體和個人經歷展開。她亦從流行文化、動漫和電視廣告中汲取靈感，重新思考和探究能動性、消費慾望和身體商品化等概念。
徐於2018年獲英國列斯大學藝術及藝術史文學士。她現於香港中文大學攻讀藝術碩士。2022年，她的個人展覽「盲彎處」在香港獨立藝術空間RNH Space舉辦，聚焦愛的政治和女性身體媒介化。部分近期展覽包括「後人類敘事——以科學巫術之名」（香港醫學博物館，2022年）、「擴展的空間：破裂重序」（Tomorrow Maybe，由城市當代舞蹈團 / 跳格與香港逸東酒店共同呈獻，2022年），以及「貴腐」（Para Site藝術空間，香港，2021年）。
Hou Lam Tsui (b. 1997), is an artist based in Hong Kong. Her work encompasses a wide range of mediums, including moving images, installation, sculpture, and text. Her practice centres around gender, emotions, body, and personal experiences. Drawing inspiration from pop culture, anime, and TV commercials, Tsui critically explores the tension between agency and consumer desires and rethinks how capitalism shapes the commodification of bodies.
Tsui received a BA in Fine Art and History of Art from the University of Leeds in 2018. She is pursuing a Master of Fine Arts (M.F.A.) at the Chinese University of Hong Kong. She held her solo exhibition Blind Curve at Hong Kong's independent art space RNH Space in 2022 which revolves around the politics of love and the mediatisation of female bodies. Selected group exhibitions include Post-Human Narratives—In the Name of Scientific Witchery (Hong Kong Museum of Medical Sciences, 2022), and Expanded Space: Body Dis-ordered (Tomorrow Maybe, co-presented by CCDC / Jumping Frames and Eaton HK, Hong Kong, 2022), and Noble Rot (Para Site, Hong Kong, 2021).
哭哭寶貝｜Crybaby
肥皂、硅膠、人造珍珠、珠子、
Soap, silicone, faux pearls, beads, xxx
尺寸可變 Size variable
2024
作品以女性的悲傷情感作為核心，挑戰將眼淚視為女性武器的厭女觀念，並鬆綁悲傷與軟弱及展演性之間的聯繫。《哭哭寶貝》展出淚滴狀的肥皂作品，同時探索傳統意義上不同象徵陰柔氣質和居家性的物品。肥皂為藝術家創作中經常使用的物料，她著迷於肥皂的兩面特性——它既體現了脆弱性，亦意謂著日常的平庸。她拒絕將女性情感經歷片面化和將女性悲傷矮化、甚至戀物癖化的的敘事。相反，她把哀傷重新想像為激進的、富顛覆性的，聚焦真實且複雜的情感，以及脆弱性所蘊含的柔韌。
Centred around feminine sadness, this work challenges the misogynistic notion of tears as a weapon wielded by women and the association of sadness with weakness and performativity. Crybaby features soap pieces shaped like teardrops and playfully engages with objects traditionally linked to femininity and domesticity. The artist is intrigued by the inherent duality of soap—a recurring material in her practice—which embodies both fragility and everyday banality. She rejects cultural narratives that seek to confine women's emotional experiences and shape deprecation and fetishisation of feminine sadness, reimagining sadness as radical, shedding light on the intricacies of women’s genuine, complex sorrow and resilience found within expressions of vulnerability.
麥影彤二 Mak2 @mak2protein
麥影彤二（1989年⽣於⾹港）於2023年從⾹港城市⼤學創意媒體學院接獲學⼠學位。她的作品通過對哲學、藝術史、⽂化、多變的社會政治環境、互聯網和新科技等的研究來反思⼆⼗⼀世紀所⾯臨的問題。她所創造的美感體驗，以幽默和強烈好奇⼼的⼆元論所連接。她的創作包括裝置、繪畫、素描、視頻作品、Youtube 視頻、脫⼝秀和濾鏡等。麥影彤二的標誌性作品包括《美好家園》（2019-）三聯畫系列以及曾展於MoMa PS1 和K11 Art Foundation 聯乘呈獻展覽「.com/.cn」的概念裝置作品《You Better Watch Out》（2017）。
Mak2 (b. 1989, Hong Kong) received her Bachelor of Arts from the School of Creative Media, City University of Hong Kong in 2023. Her practice contemplates 21st-century issues through the study of philosophy, art history, culture, shifting socio-political environments, the Internet, and new technology. The aesthetic experience she crafts is bound by the dualism of humor and intense inquisitiveness. She creates, installations, paintings, drawings, video work, Youtube videos, stand-up comedy routines, and Instagram filters. Mak2 is well known for her iconic triptych on canvas series Home Sweet Home (2019-) as well conceptual installations such as You Better Watch Out (2017), which was included in an exhibition presented by MoMa PS1 and K11 Art Foundation titled, .com/.cn.
美好家園｜Home Sweet Home: Penthouse 6 RAW
木彩色鉛筆、紙，三聯畫 Coloured Pencil on paper, triptych
30 x 52 cm
2019
麥影彤2認為人在資本主義社會裡頭皆成為了一件貨品。藝術家首先利用全球熱賣的電子遊戲《The Sims 模擬人生》建構了自己的理想家園，再將圖檔交予中國電子購物平台淘寶上的三位不同的畫家繪畫成三聯畫。 由電子遊戲、淘寶訂製，最後到畫廊銷售完整的作品，藝術家將理想人生的想像徹底商品化，成品明亮討好，完美無暇，但其對人生的黑色幽默思考令人啼笑皆非。這次展出的三聯紙本繪畫展示了高度發展的城市中，一所建完天台的複式獨立大屋。現代主義建築和寬敞的室外泳池被林立的高樓包圍，格外顯眼。屋內裝備簡潔，有數名使用者在泳池舒展，不見維持家居運作的再生產勞動者。在《The Sims 模擬人生》遊戲中，玩家可以聘請已預設為女性的家務工替大屋打掃。在現金社會性別可被轉化為資本販賣，同時某些職業又理所當然地被性別定型，尤以照顧者及家務工作為甚，然而這些勞動往往隱身在光鮮無瑕的發展背後，持續被指派做特定工種，默默為建立城市奉獻自己。
Mak Ying Tung 2 believes that in the capitalism world, human beings transformed themselves into commodities. The artist first constructed her ideal home using the world's most popular video game, The Sims, and then divided the image into three separate image, hence delivered the image to three different painters on Taobao, a Chinese e-shopping platform ,to make the according painting and complete as a triptych. From the video game, to the Taobao ordering process, and finally to the sale of the artworks in the gallery, The artist has ultimately commodified her imagination of an ideal life. The finished product is bright, pleasing and flawless, but the black humor behind her philosophy is ironic. The triptych on paper, Home Sweet Home: Penthouse 6 RAW, shows a duplex mansion built on a rooftop in a highly developed city. The modernist architecture and spacious outdoor swimming pool are surrounded by sky scrapers and stand out from the crowd. The living space in the house is simply furnished, with a few users stretching out in the pool but lack of the presence of the reproduction laborers who keep the home running. In The Sims game, players can hire housekeepers, who are by default female, to clean their houses. In a cash society where gender can be translated into the sale of capital and certain occupations are rightfully gendered, particularly caregiving and domestic work, these laborers are often invisible behind the glamour of development and continue to be assigned specific tasks, quietly contributing to the building of the city.
我們都是女人：不只是面孔｜We are all women: More Than Just Faces
超級市場貨品 Goods from supermarkets
尺寸可變 Size variable
2024
在我的新藝術項目「我們都是女人」中，我從超市購買了所有帶有女性面孔的產品。這是為了展示女性被用來銷售商品的頻繁程度。儘管我們在商店裡到處都能看到女性的面孔，但我們並不真正看到她們的身份。她們變成了銷售產品的一種方式。
通過將所有這些商品集中在一起，我希望人們對女性在廣告中的呈現方式進行思考。這也是質疑為什麼我們在這些圖片中只看到女性的外表，而不是她們的真實故事或她們的真實身份。
我展示這些產品的方式將使人們以不同的方式看待它們。這不僅僅是一堆可供購買的東西，而是一個關於女性應該如何被重視，而不僅僅是她們外表的信息。這種藝術是關於更深入地觀察和思考女性在世界中應該如何被看待，而不僅僅是在超市裡。
In my new art project, I bought all the products with women's faces on them from a supermarket. This is to show how often women are used to sell things. Even though we see women's faces everywhere in stores, we don't really see who they are beyond that. They become just a way to sell a product.
By bringing all these items together, I want to make people think about how women are shown in ads. It's also to question why we only see the outside of a woman in these pictures, and not her real story or who she really is. The way I will show these products will make people look at them differently. It's not just a collection of things to buy, but a message about how women should be valued for more than just their looks. This art is about looking deeper and thinking about how women should be seen in the world, not just in the supermarket.
林雅莉是跨媒體藝術家，運用虛擬塑模、雕塑、錄像、裝置、詩詞、畫作和表演等媒介創作。她以一級榮譽學位畢業於英國倫敦大學學院斯萊德藝術學院的雕塑藝術碩士（2017），入學時取得Yitzhak Danziger獎學金。
她的作品曾於世界各地展出，包括多倫多、俄羅斯、雅典、香港、利物浦、曼徹斯特、倫敦以及多個國際電影節（2018－2023）等等。
近日她得到多國的藝術資助計劃，包括香港藝術發展局的項目資助及加拿大文化局的海外藝術家資助，亦在蘇富比藝術學院(2022)和香港浸會大學(2018)出任客席講者。近年接受英國廣播局電台（北愛爾蘭阿爾斯特地區）(2018)、衛報，旗幟晚報等等訪問(2022)。她是倫敦Asia-Art-Activism的成員。
Yarli Allison (she/they) - a Canadian-born, Hong Kongese art-worker based in the UK/Paris with an interdisciplinary approach that traverses sculpture, installation, CGI (VR/AR/3D modeling/game), moving-images, drawings, poetry, tattooing, and performances. Graduated in 2017 with an MFA first-class honour in Sculpture from The Slade School of Fine Art , University College London (UK), Yarli was granted the entry award of the year’s Yitzhak Danziger scholarship.
Yarli’s recent works (2021-22) were exhibited in HK, Austria, Liverpool, London, etc.
Recent grants include Arts Council England National Lottery Project Grant, and Canadian Council for the Arts Travel Grant. Yarli’s work was reviewed by Deborah Levy in Ivan Juritz Prize (2017), and featured in The Guardian, Evening Standard, and beyond (2022). They were invited as a guest speaker of Sotheby’s Institute of Art, London (2022), Academic of Visual Arts, HKBU and The Arts Show, BBC Radio Ulster (2018). They are a working member of Asia-Art-Activism and Asia Forum with different capacities.
Yarli’s recent works (2021-22) were exhibited in HK, Austria, Liverpool, London, etc.
Recent grants include Arts Council England National Lottery Project Grant, and Canadian Council for the Arts Travel Grant. Yarli’s work was reviewed by Deborah Levy in Ivan Juritz Prize (2017), and featured in The Guardian, Evening Standard, and beyond (2022). They were invited as a guest speaker of Sotheby’s Institute of Art, London (2022), Academic of Visual Arts, HKBU and The Arts Show, BBC Radio Ulster (2018). They are a working member of Asia-Art-Activism and Asia Forum with different capacities.
《於虛擬的彼岸 迴魂（不）散 》 - 影片選段
In Virtual Return You (can't) Dehaunt - Extract version
單頻道錄像選段、聲音
Single Channel Video Extract, Video with Audio
尺寸可變 Size variable
2023
《於虛擬的彼岸 迴魂（不）散》是一件多頻道錄像作品。林雅莉追蹤四個香港酷兒的（跨）移民真實故事，以虛擬實境重構她們回憶中惦念的家，透過象徵式的感知回歸，引起離散敘述和文化檔案（cultural archives）的討論。
錄像以三頻道的形式展示，內容包括民族誌研究、虛擬實境塑模、獨白，以及從真實對白擷取的詩意字句，與虛構式紀錄寫作和舞蹈動作交織；在數碼時代裏，開拓性身份和政治身份的多種可能，超越了地理定義上的意涵。
「你最想回到那個家？」林雅莉以問題開首，設問四位在一九八零年代出生的受訪者。一連串的訪談由作家盧妤和人類學家Haro Matas博士帶領，那些娓娓道來的回憶成為繪製虛擬實境家居的素材。完成她們「回憶中的家」後，受訪者應邀「回去」那十分熟稔卻人工合成的虛擬空間，喚起種種懷緬感受。創作團隊將之紀錄下來，從而譜製成作品的核心社會建構（social construct）。因為無法再回到原有的家去確定物件擺位與記憶的真偽，這些回憶的空間就如同錯置的空殼般，只留下一種非物質的印象，卻緊扣著身份的建構，亦向個人身份提出疑問。
In Virtual Return We (can't) Dehaunt is a multi-channel moving-image work by Yarli Allison. It traces the real life stories of four queer Hong Kong (trans)migrants by reconstructing their nostalgic homes in virtual reality (VR), that draws attention to diasporic narratives and cultural archives through the process of cognitively metaphorical 'returns'.
The videos, presented on a set of three screens, consist of ethnographic research, VR modelling, soliloquy and poetic extracts from real dialogues. These are intertwined with docu-fiction writing and choreographic representations, while exploring the possibilities of sexual and political identities that have transcended geographical definitions in the digital age.
Yarli first poses the question ''to which house do you most wish to return?', recalling memories of the four overseas ethnic Hong Kongese who were all born in the 80s and identified as queer. The VR spaces are then contextualised after a series of interviews conducted by writer Yin Lo and anthropologist Dr. Haro Matas. Upon invitation, the interviewees revisit their memories of 'home' - now a synthetic but emotionally believable VR environment. Further comments are recorded, allowing the team to build a social construct among them, which becomes the core of the work. These misplaced nostalgic spaces - or 'homes' - are as if empty shells but significantly contribute to the formation of their identities, yet one can no longer confirm its spatial accuracy and are left with immaterial impressions.
Clara Wong @clara.bside
Clara Wong 喜歡讓空間作為其作品的觀眾，探索著舊工業區至大自然的時間與空間界限性，對材料的可塑性和它們承載的意識深感著迷。其作品植根於偶發與非偶然、哀悼與歡慶之間。由異地活動(off-site events)開始，與其他有趣的靈魂共作；創作媒介包括但不限於畫布上的、可穿戴的、雕刻和泥塑的、能吃和看似能吃的。最近的個人展覽為《降A小調前奏曲》”Prelude in A Minor Trauma” (2023)
Clara Wong (b.1996) is an artist currently based in Hong Kong. Clara‘s interest to treat the space itself as an audience to the art pieces she made is piqued by spending time in environments like dated countryside industrial areas and the nature, that allows her to explore the liminality of space and tools of an era. Fascinated with the plasticity of materials and their meanings, Clara Wong’s work resides somewhere between the celebratory and funerary, happening and uncircumstantial. Her practice started with off-site (self-organised) events and collaborative projects with work that contains elements of ready-mades, edibles, wearables, painting and sculpting. The intersection of these art forms being put on canvas and other mediums provides an euphoric experience to herself. Her most recent solo presentation was "Prelude in A Minor Trauma (2023)" at Yi Tai, Art Central Hong Kong.
無汙泛動 Unstained Flows
陶瓷、橡膠、白牆、影像紀錄 Ceramics, rubber stains on wall, video documentation
尺寸可變 Size variable
2024
作品以抱石——一項以雙腳離開地面為始，直至成功拍打牆上最高的石頭作結的運動為靈感。抱石是一項相對沒有被單一性別主導的運動，因要完成挑戰的路線不只講求運動員的力量，還需要運動員對平衡、解難和分析的能力。在攀爬過程中，運動員的橡膠鞋頭反覆劃過牆身，摩擦留下的線條恰如繪畫的筆觸，只提供了律動痕跡的線索，留痕者的身份與性別卻無法被追溯。抱石運動員的體重、肌肉和柔軟度成為了完成抽象畫的混合媒材。藝術家將展場轉化為臨時的運動場域，利用自身對此項運動的熱情和長期練習，試圖將紀錄人體動作的劃痕形成一幅巨大的抽像畫，模糊了場地的使用限制之餘，也引發觀眾反思運動項目與力量和性別的關係。
The artwork is inspired by the bouldering - a sport that starts with the feet off the ground and ends with a successful tap on the highest hold on the wall. Bouldering is a relatively gender-neutral sport, as it requires not only strength but also balance, problem solving and analytical skills to complete the challenging route. During the climbing process, the rubber toes of the athletes' shoes are repeatedly scratched across the wall, and the lines left behind by the friction are similar to brushstrokes in a painting, which only provide clues to the rhythmic traces, but the identity and gender of the person who left the traces cannot be distinguished. The weight, muscles, and flexibility of the Boulder athletes become a mixed medium for the completion of this abstract painting. The artist transforms the exhibition space into a temporary sports field, utilizing her own passion and long practice in this sport, and attempts to form a huge abstract painting from the scratches that record human movement, blurring the limitations of the use of a certain place, and inviting the viewer to reflect on the relationship between sports, strength, and gender.
