The Secret of the Body is a series of generative art pieces created in 2024, exploring profound themes of female experience, trauma, pain, and memory through a unique visual language. Each photograph in the series features a female body intersected by red lines, which leave behind what appear to be stitched scars. These lines are not only a visual impact but also a direct representation of physical and psychological trauma.

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《身體的秘密》是一系列創作於2024年的生成藝術作品，透過獨特的視覺語言探討女性經驗、創傷、疼痛與記憶等深刻主題。作品中的每張照片呈現了一位女性的身體，被紅色線條穿越，留下了一道道仿佛縫合的痕跡。這些線條不僅帶來視覺上的衝擊，更是對身體與心理創傷的直觀表現。

My latest work, a series of tapestries depicting the Hindu Goddess Kali, seeks to illuminate her multifaceted nature, revealing her fierce determination but also her infinite maternal love. Through these tapestries, I aim to challenge perceptions of femininity and advocate for women's empowerment.Protector of innocents with her divine energy,

Kali is the destroyer of evil spirits and can exorcise evil and subjugate demons, but also shows infinite maternal love to spiritually save all living beings.

She is a role model for female self-reliance, independence and autonomy.

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我最近的系列作品是描繪印度教女神卡利的掛毯，旨在闡明她的多面性，展現她堅定的決心以 及無限的母愛。透過這些掛毯，我的目標是挑戰人們對女性氣質的看法並倡導增強女性權能。

卡利女神以其神聖的能􏰂保護著無辜的人們，她是惡靈的毀滅者，能夠驅除邪惡、降服魔怪， 同時也展現出無限的母愛，在精神上拯救一切生物。

她是女性自強，自立，自主的典範。

My easel paintings revolve around two thematic languages. One is paper—the vessel of civilization and the recorder of historical evolution. Paper is soft yet resilient, unfolding the transmission of thought amid its fragility. The layers of torn and fragmented paper symbolize the ruptures and conflicts within civilizations, the divergences in ideology, all of which evoke a visceral pain—both psychological and physical—within us as human beings.

The other theme is fire, marking humanity’s departure from a primitive existence. Fire brings warmth but also the searing pain of burning. In my paintings, the act of burning represents the suffering and contradictions of all matter, including sentient beings, in the face of civilizational conflict—a state of anguish and urgency.

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我的架上作品圍繞兩種主題語言。一種是紙——文明的承載，歷史沿革的記錄。紙柔軟卻有韌性，在脆弱之中鋪展了思想的傳播。層層疊疊、撕裂的紙張象徵著文明的割裂與衝突，以及意識形態的差異，無不引發作為人的心理乃至肉身的切膚之痛。

另一種是火，標誌著人類告別茹毛飲血的開端，既帶來溫暖，也伴隨灼燒的痛楚。在畫面上，燃燒的運用不僅表現物質的轉化，也象徵包括有情生命在內的存在，在文明衝突之下所經歷的矛盾與苦痛，那種焦灼與掙扎。

Wang Cong's female body series, Spirit · Domain, while seemingly focused on personal emotional expression and explorations of desire, can also be connected to broader social issues through its artistic approach.

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王聰的女人體系列《靈·域》，儘管直接描寫可能偏向個人情感的宣洩和欲望主題的探討，但這樣的藝術創作同樣可以與更廣泛的社會性議題相聯繫。

Woman’s desktop is a work about disappearance and silence. A pair of shoes, half-buried and sealed in dust, neither fully forgotten nor truly present. They remain suspended in the cracks of time, like an unfinished journey or a story forcibly interrupted.
This piece is not only about absence but also about traces. Shoes symbolize movement, belonging to someone who once walked, someone meant to keep going. But when the shoes stop, what happened to their owner? Was she swallowed by the everyday, tamed by the rules, or still waiting in silence? The dust does not merely cover physical existence—it muffles unheard voices, those lightly brushed away yet still lingering.
And yet, above the dust, someone will pause and look back. Perhaps, at the end of forgetting, there is not disappearance but another way of resurfacing.

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《女性的桌面》是一件關於消失與沉默的作品。一雙鞋，被半掩、封存在塵土之中，既未完全遺忘，也未真正存留。它停滯在時間的夾縫裡，像一段未竟的旅程，或一場被迫中斷的敘述。

這不僅是一件關於缺席的作品，更是關於痕跡的。鞋象徵行動，屬於某個曾經行走過的人，某個本該繼續前行的人。而當鞋停滯，它的主人呢？她是否已被日常吞噬，被規則馴化，還是仍在沉默中等待？塵埃覆蓋的不只是物理上的存在，更是未被傾聽的聲音，那些被輕輕拂去、卻始終殘留的痕跡。

然而，在塵埃之上，總有人駐足、回望。或許，遺忘的盡頭，不是消散，而是另一種重新浮現。

These TRACES are so personal and they are reminder of the changes that happened in my body, and therefore in my life, when I was unknowingly getting rid of those heavy layers that oppressed me down to the ground.

The blood traces manifested an unrevealed road: my body was preparing to mutate and a dark night came. Then came the light growing inside as a powerful and invisible womb.

That was the time when I began to bloom. I had mutated.

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這些血跡是如此個人化，它們提醒著我，當我在不知不覺中擺脫那些壓迫著我的沉重層時，我的身體發生了變化，因此我的生活也隨之改變。

血跡昭示著一條不為人知的道路：我的身體正準備變異，黑夜降臨。然後，我的身體裡出現了一束光，就像一個強大而無形的子宮。

那是我開始綻放的時刻。我已經變異

This ink painting is a portrait of the philosopher Simone de Beauvoir.

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此幅水墨作品《第一性》，是我画的哲学家西蒙娜·德·波伏瓦的肖像。

The burning flames pierce through the black gauze, creating an illusion of visual distortion. In terms of artistic approach, I have incorporated more elements reflective of this era, using a greater variety of mixed media.

We live in a time of mass-produced consumer goods, and as a series that reflects the present moment, I want these works to bear the imprint of our time through their materials. I experiment with materials that can quickly achieve a visual impact rather than spending excessive time constructing a visual facade. My focus is on directly expressing emotions and ideas.

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燃燒的火焰衝破了黑紗，造成一種視錯覺的假象。在創作手法上，我使用了更多屬於這個時代的東西，更多的綜合材料。這是一個快消品氾濫的時代，作為一個反映當下的作品系列，我希望它們在材料上更具時代印記。我嘗試用一些能快速獲得視覺效果的材料來創作，而不拘泥於將時間耗費在創建視覺外殼上，直接表達情緒與觀念才是我關注的。

In the series of my works, I borrow the shape of the women's body, where in the very well- known paintings, linking the IUD is a tattoo on the body, nevertheless an imprint of women, to express a contradiction: Contraception and procreation; but to be accepted and choose for yourself. I present a relationship between the self, the family and contemporary society, to study the role of women.

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​在作品中借用了安托瓦内特-福克所说的子宫里比多，一种创作力完全与男性相对等，抗衡。作品中 女性身体与避孕环的结合引申出一种无形的力量，从一个领域引领到另一个领域，从一个话语转到 另一个话语，从懵懂混沌回到真实清晰的世界。

Numbness brought by last night's sleep, reflection in torned skin. Situation is spoken throught the women's body.

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​睡眠带来的麻木在清晨用皮肤的褶皱表达，女性用身体书写遭遇。

Her artworks primarily focus on exploring and expressing human nature, life, religion, and the inner emotions and spirituality of women. Some of her major representative series include the Angel series, the Floating World series, the Red Tide series, and the Golden Lotus series.

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作品重在探索和表达人性、人生和宗教及女性自我內在的情感和靈性。主要代表作：天使系列，浮世记系列， 红潮系列，金瓶梅系列等。

Used lint roller sheets, typically discarded after peeling off, become a domestic calendar when arranged in a grid on the wall. The surface texture composed of fabric fibers, hair strands, and dust particles reveals cross-sections of homemakers' daily lives. These women, much like the invisible domestic labor they perform, often remain unseen.

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用过的粘毛滚筒纸，通常撕下即丢弃，像这样列阵于墙面，则成为一面家务月历。由布料纤维、毛发、粉尘构成的表面肌理，实际上是家庭女性的日常切面。而她们，就像隐形家务一样，通常不被看见。

My work naturally carries an abstract quality, stemming from an innate visual-perceptual instinct as an artist. I do not deliberately avoid this intuition, nor do I confine myself to a singular painting subject. Instead, I explore the collage and reorganization of visual textures through different materials and colors. Rather than directly reproducing or replicating, I employ abstraction, fluid drips, and decisive brushstrokes to maintain a sense of detachment—an ambiguous yet intimate stance that reflects a female artist’s perspective on society and reality.

This form of abstract expressionism in my painting is, in many ways, closer to traditional Chinese ink painting, particularly the techniques of splashed ink (pomo) and dry brushwork (kumo), as well as the evocative expression of life experiences.

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我的作品自帶天然的抽象氣息，這種氣息源於作為藝術家的一種自然的身體視知覺本能。我並沒有刻意去規避這種直覺，也沒有限定單一的繪畫題材，而是透過對不同材料與色彩進行視知覺肌理的拼貼與重組。我並非直接再現與複製，而是運用形象的抽離，結合滴淌流暢與乾練的筆法，使畫面始終保持著女性藝術家對社會與現實之間若即若離的態度與氛圍。

我的這種抽象表現性的繪畫，更多地接近中國傳統水墨畫中那些潑墨與枯墨的筆法，以及對生活感受的意象表達。

When I press the shutter and capture the moment the flower blooms, it's like having a conversation with Georgia O 'Keeffe that spans time and space. Her flowers are full of life, each petal seems to breathe, and my lens tries to capture this rhythm of life. O 'Keeffe uses her brush to magnify the details of nature, transforming flowers into powerful totems; I use the camera to record the flow of light and shadow on the petals, trying to show the unique soul of each flower. In the desert of New Mexico, O 'Keeffe found her artistic language; In my lens, every flower is a small universe, containing infinite possibilities. Her paintings teach us that beauty is not only in the grand, but also in the subtle. As she says, "When you really see a flower up close, it's a moment that belongs to you." My photography is a tribute to this way of observation and an eternal search for the beauty of life.

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当我按下快门，捕捉花朵绽放的瞬间，仿佛与乔治亚·欧姬芙展开了一场跨越时空的对话。她笔下的花朵充满生命力，每一片花瓣都像在呼吸，而我的镜头也试图捕捉这种生命的律动。欧姬芙用画笔放大自然的细节，将花朵转化为充满力量的图腾；我用相机记录光影在花瓣上的流转，试图展现每一朵花独特的灵魂。 在新墨西哥州的荒漠中，欧姬芙找到了她的艺术语言；在我的镜头里，每一朵花都是一个小宇宙，蕴含着无限的可能。她的画作教会我们，美不仅存在于宏大的景象中，更藏在细微之处。正如她所说："当你真正近距离观察一朵花时，那是一个属于你的时刻。"我的摄影，正是对这种观察方式的致敬，也是对生命之美的永恒追寻。

The Dying Swan carries the essence of a self-portrait and also represents a collective posture. This series of works was created during the COVID-19 pandemic, expressing the pain and despair brought by personal illness, as well as the courage to grow and transform after enduring hardships. Through painting, the works convey personal struggles while also expressing hope for the resilience of the female community. The scars of being battered and bruised are seen as fruits nourished by storms, and the wounds from severe blows are regarded as honors bestowed by resistance. The awakened life after burning fiercely is viewed as a generous gift of freedom. The blood moon overhead symbolizes the light of hope, guiding women to rise.

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当我按下快门，捕捉花朵绽放的瞬间，仿佛与乔治亚·欧姬芙展开了一场跨越时空的对话。她笔下的花朵充满生命力，每一片花瓣都像在呼吸，而我的镜头也试图捕捉这种生命的律动。欧姬芙用画笔放大自然的细节，将花朵转化为充满力量的图腾；我用相机记录光影在花瓣上的流转，试图展现每一朵花独特的灵魂。 在新墨西哥州的荒漠中，欧姬芙找到了她的艺术语言；在我的镜头里，每一朵花都是一个小宇宙，蕴含着无限的可能。她的画作教会我们，美不仅存在于宏大的景象中，更藏在细微之处。正如她所说："当你真正近距离观察一朵花时，那是一个属于你的时刻。"我的摄影，正是对这种观察方式的致敬，也是对生命之美的永恒追寻。

This work was created at the turn of the lunar new and old years, bidding farewell to the year of Jia Chen and welcoming the year of Yi Si. The number 1989 holds special significance for me. Therefore, I pasted 1989 snake scales this time. On the back of each scale, there is a blessing. I also carried out a secondary creation based on the snake model, hoping that in the new year, the auspicious snake will bring good fortune and everyone will be safe and happy.

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这件作品创作于农历新旧年交替之际，辞甲辰迎乙巳，1989对我来说是具有特殊意义的数字，所以这次也剪贴了1989片蛇鳞，每片蛇鳞背面都有一句祝福语，并在实物的基础上做了二次创作，希望在新的一年里祥蛇纳福，大家都顺遂平安。

Because Luo Min is gifted in her skills as a painter, her treatment of flowers takes on a vibrancy greater than any academic study.​..So if Luo Min’s paintings are a kind of utopia, the boy’s strange expression is an admission of something else--something out of kilter in the world we see.

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得益于罗敏身上拥有的画家天赋，她对花卉的处理方式较之任何学术研究都更具活力。

​如果罗敏的画作属于乌托邦的话，那么男孩古怪的表情便是对其他现实的承认 — 我们所看到的世界确实存在一些奇怪的东西。

The uniqueness of women lies in their innate ability to create. Every individual brought into this world through a woman's body and life is a unique piece of art. Therefore, no matter who you are, what profession you pursue, or what fate has in store for you, every action and choice you make in this life contributes to the creation or refinement of this masterpiece. As the famous saying goes, "Everyone is an artist." How you present this work to the world is entirely up to you. 

On July 1, 2000, Yan Yinhong exhibited her one-year-old daughter at the Central Academy of Fine Arts gallery, dressing the child in clothes she had painted herself. The work, titled “The Beginning of Humanity”, captivated visitors with its unique perspective and profound emotional expression, becoming a moving testament to the intertwining of art and life.

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女性的独特之处在于她们被赋予了创造的天性。每一位女性通过自己的身体与生命带到这个世界上的每一个人，都是一件独特的艺术作品。因此，无论你是谁，从事何种职业，命运如何，你今生的每一个行动和选择，都是在创造或完善这件作品。正如那句名言：“人人都是艺术家。”你如何向世界展示这件作品，完全取决于你自己。

2000年7月1日，严隐鸿在中央美术学院陈列馆展出了她哺养了一年的女儿，并给幼儿穿着自己绘制的衣服，作品名：《人之初》。这件展品以其独特的视角和深刻的情感表达，引发了参观者的惊叹与共鸣，成为艺术与生命交织的动人篇章。

Human desires are the most direct connections between humans and machines. We humans cre- ate machines in order to satisfy our desires. However, the continual desires for things that actually don’t ultimately satisfy us, but make us controlled and consumed by machines. It also refers our humanness and weakness, especially our instinctive and basic desires: eating and sex, which are also the motivations for humans to continuously create machines and struggle in the whole lives. In Machinetopia, I mix up machines that can satisfy the two essential human desires, and com- bine them with synthetic industrial noises, which intuitively present the products of human desires. Meanwhile, in visual, audio and mental aspects, I intend to make them to be both provocative and evocative for bringing people the absurd, humorous and even uncomfortable sensory experienc- es. In this way, I focus on looking at how the inventions that we humans conjure up are based on our desires, and exploring paradoxical relationships between human and machine, male and fe- male, control and being controlled.

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人类的欲望是沟通人类与机器之间最直接的纽带，人类发明机器为了满足自身的欲望，但在无止境 的欲望的驱使下，人类最终并不能得到满足，人类反而被机器所控制和消费。这恰恰反映出人类的 天性和人性的弱点:吃和性——人类最本源的欲望，也是人类源源不断创造机器并为之终身奋斗的 动力。作品中我将能满足人类这两大本质欲望的机器混合在一起，并合成工业噪音加以结合，直观 地表现了人类欲望的产物的同时，在视觉、听觉和精神层面制造冲击力和冲突感，以产生荒诞、诙 谐、甚至不适的感官体验。由此观察人类的发明创造是如何被其欲望所驱使的，进而探讨人类和机 器，男性和女性，以及控制与被控制之间的矛盾关系。

My artistic intention is to create paintings that evoke a sense of peculiarity. 

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我意在创作具备奇异感的油画作品。

As the Wind Blows is a multimedia light installation that explores the fluidity of identity, resilience, and the evolving dialogue about differences and belonging . Just as the wind carries stories across borders and generations, this work reflects the invisible yet persistent forces that shape cultural exchange, power structures, and gender narratives.

Light and shadow become metaphors for visibility and erasure—illuminating the voices of women who have navigated, resisted, and redefined their roles within shifting socio-political landscapes. The interplay of materials and movement echoes the adaptability and strength of women across time, emphasizing how feminist thought has transcended geographies, continuously reshaping itself through cultural encounters.

《隨風而行》是一件多媒體燈光裝置藝術作品，探討身份的流動性、韌性，以及圍繞差異與歸屬的不斷演變的對話。正如風承載著故事跨越邊界與世代，這件作品反映了那些塑造文化交流、權力結構與性別敘事的無形而持久的力量。

光與影成為可見與消逝的隱喻——照亮那些在不斷變化的社會政治環境中探索、抗爭並重新定義自身角色的女性聲音。材料與運動的交織象徵著女性在不同时代的適應力與堅韌，強調了女性主義思想如何超越地域限制，在文化交匯中不斷演變與重塑。

The "I Have a Head" Series is the first series I began in my painting practice, spanning from 2009 to the present. The head, akin to a stage, incorporates the reception of external information, the transmission of internal sensations, the interplay between reality and emotion, and the generation and processing of feelings. These elements are transformed into self-expression and ultimately manifested. Therefore, I use the head as the primary subject, employing metaphorical means to document the psychological journey of my personal growth.

我有个头系列是我开始绘画创作的第一个系列，从 2009 年开始延续至今。头，像一个舞台，将外界资讯的接收、内部感受的传导、现实与情感的交融、 情绪的产生与处理等等纳入其中，转化为自我的表达再呈现出来。所以我以头为主要描绘对象，以暗喻的方式，记录自我成长的心路历程。

Zhou Li is an artist who deeply cherishes life. She enjoys using her unique perceptions to depict everything in the world—animals, plants, people, as well as the sun, moon, stars, blue skies, and seas. All these elements come to life with vivid and distinctive vitality under her brush. Her artistic works are her life, and her life is also her artistic creation. She has crafted her life with love, and in doing so, she has also created her art. In this era dominated by material desires, she and her art resemble a clear stream, flowing gently into people's hearts with a passionate, warm, innocent, bright, and free-spirited force. Her works possess a remarkable healing quality, offering a sense of peace and tranquility to the soul in this restless society.

周丽是一位热爱生活的艺术家，她喜欢用自己独特的感受 描绘世间的一切，动物、植物、人物，以及日月星辰、蓝天碧 海都在她的笔下呈现出鲜活而独特的生命力。她的艺术作品是 她的生活，她的生活也是她的艺术作品，她用爱创造了自己的 生活，也创造了她的艺术。在这个物欲横流的时代，她和她的 艺术就像一股清澈的溪流，以一种热情的;温暖的;童真的; 光明的以及自由的力量缓缓地流入人们的心中。她的作品极具 治愈性，在这个浮躁的社会中能够带给人心灵的平静和安稳。

The Food series is all kinds of fantasies, or illusions, or even nightmares that occur from time to time when I face the daily meal on the plate: my free elves, Bird'n Women, have various scenes such as "be eaten ", "escape", "birth", "reincarnation" and so on the invisible table stage... Witnessing their fate, we may rethink our "start and end", "life and death", what is the so-called real absolute spiritual freedom... Rethink, "Who are we? Where are we from? Where are we going?" 

"Food・Winter" is the last season work of my "Food・Four Seasons" series. In the coldest, darkest and hopeless season of the year, the mother of Bird'n Woman, who was imprisoned in the ice,sent away her newborns, one flew to hope, the other saught balance, and the third predicted the future. With her own residual body temperature, she tried her best to warm the last unincubated new life and new hope that had not been hatched with her residual body temperature, leaving the last trace in the dark and silent late winter night...

《食》系列是我面对每日盘中餐时，不时会产生的各种幻想，亦或是错觉，甚至是一些噩梦：我那些自由精灵们--人鳥们在看不见的食桌舞台上发生着“以身为食”，“逃亡”，“诞生”，“轮回”等种种场景......目睹她们命运的我们也许会重新思考我们的“始与终”，“生与死”，什么是所谓真正的精神上的绝对自由......重新思考“我们是谁？我们从哪里来？我们要到哪里去？”              《食・冬》为我的《食・四季》系列的最后一季作品。一年之中最寒冷、昏暗、无望的季节里被禁锢于冰块里的人鳥母亲送走刚诞生的一飞向希望，一寻求平衡，一预言未来的新生命之后，以自己残余的体温竭尽全力温暖最后一颗尚未孵化的新生命，新希望，在暗黑沉寂的末冬之夜留下最后的痕迹……

My way of artistic expression often involves the simple and primitive use of Chinese paper and ink, aiming to convey things that exist yet cannot be seen—such as air or love, which are invisible but profoundly significant. Art has the power to express the spiritual and humanistic dimensions of our nature, yet people are frequently obstructed by material possessions and the things immediately before them. As a woman with a keen sensitivity, especially in artistic creation, I wish to preserve this perceptiveness and my experience of the environment, serving as a kind of societal thermometer. Through what is visible in front of me, I seek to express the truer manifestation of spirituality

我的艺术表达方式，常用简单原始的中国纸和水墨，想表达既存在又看不见的，比如：空气，爱，是看不见的，但是很重要的存在。艺术能抒发出人性精神与灵性的层面，但人常常被物质与眼前事物阻隔，作为女性的敏感，特别是艺术创作，我想保留着这份感敏与对环境的体验，如同社会的温度计，透过眼前的，表达出灵性那更真实的显现。