The Maid, The Bride, The Body
Installation, live performance, video(Lynne Zhao), 22min
2022
The hoop skirt could be regarded as the most important symbol within my practice, originated in collages, and then pushed my practice forward to paintings and small-scale ceramics. I exploited the hoop skirt as a blank paper to make collages. I questioned whether I could employ cyberspace as a new environment to express my concepts on women’s bodies and gazes. This was done through an online performance with the hoop skirt. This performance was inspired by Laura Mulvey’s film theory. This theory gave me the insight to explore how Eastern Asian women’s bodies might be reshaped by cyberspace's digital filters and techniques. By projecting the keyword ‘gaze’ into a specific context, to investigate the new cultural meanings of ‘gaze’ and ‘filter’ in the context of social media. Using projection in a dimly lit enclosed environment, I hand-stitch collages onto hoop skirts in front of a screen as part of the performance. Live streamed on Instagram this private performance invites a public audience to examine the influence of social media technology on the construction of female subjectivity.
The Maid, The Bride, The Body
