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Academy of Visual Arts視覺藝術院  |  Bachelor學士  |  2017
Bra underwires, Fabric胸圍鋼線, 織物  |  200 x 230 x 200 cm200 x 230 x 200 厘米  |  Sculpture雕塑品  |  Artwork藝術作品

Know thyself has been the centrality of my project. My self identity and sexuality changes with personal experiences in life . I'm trying to liberate myself from my own presupposition on men and on myself. I experienced sexual assault when I was very young, 13 by a woman and 16 by a man. I barely know my own sexuality at those ages. I was repressed and depressed. This project is a reconciliation and reconnection of my entrenched and embodied self, it allows me to come to self acceptance. I'm 22. I could see my body as a natural part of myself without promiscuity or as a site of increasing vulnerability. I have seen women who use their pelvis muscle to entertain the mass as their best chance of living in Thailand, which is the Ping Pong Show. I allow myself to expose my body in public space, without censorship (topless) by the Donau river in Vienna and muslin public beach of Maldives, where women have to swim with whole body covered hijab.

(The text is provided by the student)
我創作的核心圍繞著了解自我。我的身分認同和性慾隨著生活經驗而轉變。我以創作來解放我對人和自身的偏見。我在13歲和16歲時有被性侵的經歷,當時對自己的性慾一無所知。我變得自我壓抑和抑鬱。這創作過程和結果讓我能夠重新接受和擁抱對被他者化的自己及身體經驗給我的自我認同。22歲的我能視我的性徵為身體自然的一部分,而非不雅淫穢的,或是永遠無法保衛的脆弱點。[6:24 PM,6/20/2017] Anliza: 我親眼目睹泰國紅燈區乒乓秀的女性工作者,以陰道肌肉娛樂嫖客為生。我在多惱河和穆斯林國家的公眾泳灘(穆斯林女性必須要覆蓋全身游泳),不穿任何上衣裸泳。


APA: LAM, Tsz Ching林芷澄. (2017). Cradle母本. Retrieved from HKBU Heritage: https://heritage.lib.hkbu.edu.hk/routes/view/ids/HER-011214
MLA: LAM, Tsz Ching林芷澄. "Cradle母本". HKBU Heritage. HKBU Library, 2017. Web. 24 Jul. 2024. <https://heritage.lib.hkbu.edu.hk/routes/view/ids/HER-011214>.

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