Screw Femininity
2022
Brooches, necklaces and rings
Brass, lace, plaster
The core idea of my project is to challenge the view that women have to be feminine.
這一系列的作品旨在挑戰「女性必須女性化」的觀點。
I am a jewellery artist from Taiwan, where society is traditionally patriarchal. Growing up, my mother often commented that my dress sense and behaviour were not feminine enough. This inspired me to create a series of jewellery pieces using materials that are typically associated with femininity. Additionally, I incorporate Ikebana, the traditional Asian art of flower arrangement, to express my belief that women should challenge and break free from stereotypes.
作為一名出生在台灣，生活在相對傳統的父權社會中的珠寶藝術家，我經常可以體會到我們的社會對於女性的刻板印象，例如，我的母親總是提起我的穿著和行為舉止不夠女性化。這啟發了我使用蕾絲（被普遍認為是女性化的物件），並結合石膏及花道的元素，製作了系列作品，傳達我認為女性應該打擊和消除刻板印象的理念。
My position is not about asking women to abandon femininity, but to contest the social expectation of women dressing and behaving in a restrictive feminine way. It is not only the clothes women wear, but the characteristics considered "women" should have.
我並不是鼓吹女性該表現陽剛，而是要挑戰社會對於她們的刻板印象，不僅僅是針對穿著，還有那些女性應該具備的性格特質。
When the plaster is not solidified, the softness and flow of plaster, on contrary, the hard appearance after solidification, represent the opposite of the roles of men and women in our society. After being combined with lace, it is equivalent to a symbol of women's status in a patriarchal society. However, being damaged by the spiky pieces means my resistance and advocacy for the status of women in a patriarchal society.
在石膏未凝固時的柔軟與流動，和凝固以後堅硬的樣子，就像社會中男女之間狀態對立，與蕾絲結合後，就相當於女性在父權社會中地位的象徵。另一方面，在我的作品中尖銳的黃銅物件的靈感來源於劍山，它是一個被廣為使用、固定植物的花器，在花道中，劍山必須隱藏在花瓶中，這就好比對女性的社會期望，然而，被尖銳的底座刺穿結合石膏的蕾絲意味著我對性別刻板印象的抵制和倡導。
