连博 纯艺术 本科预科

作为一个艺术家，我主要探究在21世纪当代中国的社会环境背景下女性所面对的压力与困境。它们往往来自于家庭与社会角色间的失衡；中国传统思想与文化给女性带来的性别歧视；女性权利意识觉醒所造成的与社会固有观念的冲突。

在我的创作中，我主要选择使用羊毛、线、女性衣物(材料)。这是源于我蒙古族的背景，让我对传统女性制品，比如羊毛织物有很深的感情。在《你要懂事》这件作品里，我使用了簇绒枪——这个特殊的用于地毯制作的工具来完成这个作品。它体现了我所受到的来自父母的过渡期许与要求。在材料以及制作过程上，它展现了我特别的文化背景，以及对女性所代表的传统劳作的思考。此外，我用文字的力量来复述我在生活中感受到的约束，我用女性身体的不完美来表达对女性外表的要求，我用女性化的服装来表现我在与母亲的关系中不被理解时的感受。就像西蒙娜·波伏娃所说：“人们将女人关在厨房或者闺房内，却惊奇于她们视野有限，人们折断她们的翅膀，却哀叹她们不能飞翔，但愿人们能开放她的未来，避免她们被迫待在现在”（第二性 1949）我希望女性能够更真实地表达自我，摆脱社会的束缚，找回翅膀，自由飞翔。

As an artist, I mainly explore the social pressures and dilemmas faced by women in the 21st-century Chinese social environment. They often come from the imbalance between the roles of the family and society; the gender discrimination that traditional Chinese thought and culture impose on women. The conflict with socially constructed ideas was caused by the awakening of women's rights. 

I used intimate and feminine materials such as wool, thread and women's dresses. Some characteristics of the material come from Mongolian craft patterns and colours (Ethnic Minorities in China) which symbolize my cultural root. I have a strong affinity for stereotypically 'female' crafts such as woollen fabrics. For example, in my work “You need to know”; I used a tufting gun- this typical female repeating making process to complete the piece. In terms of content, it reflects the excessive expectations and demands that I received from my parents. In terms of materials and the process of making it, it shows my particular cultural background and my reflection on the traditional labour that women represent. In my work I use the power of words to retell the constraints I feel in my life, I use the imperfection of the female body to express the demands on women's appearance, and I use feminine clothing to show how I feel when I am not understood in my relationship with my mother. As Simone de Beauvoir said “A woman is shut up in a kitchen or a boudoir, and one is surprised her horizon is limited; her wings are cut, and then she is blamed for not knowing how to fly. Let a future be open to her and she will no longer be obliged to settle in the present. “ (The Second Sex, 1949）I want women to be able to express themselves more authentically, free from the constraints of society, find their wings and fly freely.