連博 純藝術(shù) 本科預(yù)科

作為一個(gè)藝術(shù)家，我主要探究在21世紀(jì)當(dāng)代中國的社會環(huán)境背景下女性所面對的壓力與困境。它們往往來自于家庭與社會角色間的失衡；中國傳統(tǒng)思想與文化給女性帶來的性別歧視；女性權(quán)利意識覺醒所造成的與社會固有觀念的沖突。

在我的創(chuàng)作中，我主要選擇使用羊毛、線、女性衣物(材料)。這是源于我蒙古族的背景，讓我對傳統(tǒng)女性制品，比如羊毛織物有很深的感情。在《你要懂事》這件作品里，我使用了簇絨槍——這個(gè)特殊的用于地毯制作的工具來完成這個(gè)作品。它體現(xiàn)了我所受到的來自父母的過渡期許與要求。在材料以及制作過程上，它展現(xiàn)了我特別的文化背景，以及對女性所代表的傳統(tǒng)勞作的思考。此外，我用文字的力量來復(fù)述我在生活中感受到的約束，我用女性身體的不完美來表達(dá)對女性外表的要求，我用女性化的服裝來表現(xiàn)我在與母親的關(guān)系中不被理解時(shí)的感受。就像西蒙娜·波伏娃所說：“人們將女人關(guān)在廚房或者閨房內(nèi)，卻驚奇于她們視野有限，人們折斷她們的翅膀，卻哀嘆她們不能飛翔，但愿人們能開放她的未來，避免她們被迫待在現(xiàn)在”（第二性 1949）我希望女性能夠更真實(shí)地表達(dá)自我，擺脫社會的束縛，找回翅膀，自由飛翔。

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.