Almost Collapsing Balance
临 界 之 躯 (2020 - Ongoing)

身体与平衡是艺术家在《临界之躯》中持续关注的母题。受启于过往习得的木偶制作技术，尤其是关节间的连接和制衡，艺术家得以复现具有强烈张力的日常瞬间。这些作品或接近倒塌，或受强压，或追逐、纠缠，它们皆处于失衡的边缘，临近身体的极限。艺术家持续探索用物理极限的方式表现心灵的临界点，亦进一步思索我们如何平衡自身内部的矛盾，个人与周遭的冲突。

The artist channels her experience of making and performing with marionettes into her sculptures to encompass flexible joints and detachable appendages. Mechanical limits between the joints incarnate a critical state of the mind, granting the sculptures a balanced structure and a static momentum.

︎01 - Don’t Leave 别离

Don’t Leave is the very first work where I combine my understanding of puppetry with sculpture. Each part of the work is movable to enhance the perception of the tension among different parts. The curving spine leans forward, while the neck stretches backward to counterbalance the potency of the former. The silicon part hanging in front is relatively heavy compared to the whole body, which not only adds the tendency to lean forward, but also relates a sense of gravity. The overall body maintains delicate balance through the interaction of the joints - their angle, length and weight. Don’t leave is a manifesto of retaining one’s will against collapse even when suffering from demanding force.

我在《别离》这件作品中首次将对木偶的理解与雕塑创作相融合。它呈现了一个跪姿的女性形态，弯曲的脊柱向前倾斜，而脖颈却朝后上方伸展，与前者的力相抵消。锁骨下垂坠的乳房一方面增加了向前倾倒的拉力，另一方面同红色鞋子一起强调了其女性的特征。我想在这件作品中，传递一种身处困境却不甘于屈服的意志。