Group Exhibition | Images of Women

参展艺术家 Artists

Amy Meng

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安娜·阿克塞诺娃 Anna Axenova

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傅文俊 Fu Wenjun

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杰奎琳·梅 Jacqueline May

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珍·特雷尔 Jenn Terrell

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Lu

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奈·泽尔卡 Nae Zerka

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纳特里安·布朗 Naterrian Brown

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萨马·埃洛米 Osama Elolemy

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帕梅拉·查拉比 Pamela Chrabieh

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莱利·基齐尔 Riley Kizziar

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邱枘崎 Ruiqi Qiu

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展览前言：女性图像

Exhibition statement: Images of Women

2022 年 5 月 1 日 -6 月 5 日，独立映像艺术空间推出群展《女 性图像》。

From May 1, 2022 to June 5, 2022, Independent & Image Art Space is glad to present a group exhibition “Images of Women”.

1971 年，美国艺术史学家琳达·诺克林撰写的文章《为什么没 有伟大的女性艺术家》，被视为女性主义艺术史及艺术理论的 先驱之作，深具影响力。50 年后的今天，当我们再次提出这个 问题，人们的脑海中浮现出怎样的回答？

In 1971, the American art historian Linda Nochlin published an article Why Have There Been No Great Women Artists, which was regarded as a pioneering work in feminist art history and art theory, and made a great influence. Now, about 50 years later, when we ask this question again, what answers pop into people's minds?

当今社会探讨女性社会身份，不仅在谈论平等和赋权，还在讨 论女性创造力能为世界带来的潜在变革。在这个展览中，我们 希望倾听女性的声音，看见她们对自身、对社会、对世界的看法。 同时，这不是一个仅仅面向女性艺术家的展览，我们包容性别、 种族、民族、信仰、年龄等方面的多样性，希望看到不同人群 对女性的刻画，了解他们是如何看待当下社会的女性以及女性 所扮演的角色。 正如诺克林在文章中所言，“作为伟人王国中的弱势一方，妇 女能够揭示普遍的制度和知识中的弱点，同时打破虚假的感觉， 参与一个新的制度的创立，在这个制度体系中，真正的伟大是 向所有人敞开的挑战，男人或女人，只要他们愿意勇敢地进行 必要的冒险，跃向未知世界。” 参展艺术家：Amy Meng, 安娜·阿克塞诺娃 , 傅文俊 , 杰奎 琳·梅 , 珍·特雷尔 , Lu, 奈·泽尔卡 , 纳特里安·布朗 , 萨马·埃洛米 , 帕梅拉·查拉比 , 莱利·基齐尔 , 邱枘崎

Today's society discusses women's social identities, not only about equality and empowerment, but also about the potential changes that women's creativity can bring to the world. In this exhibition, we hope to listen to the voices of women and to know their views on themselves, society, and the world.

At the same time, this is not an exhibition only for female artists. We embrace diversity in terms of gender, race, ethnicity, belief, age, etc. We hope to see the images of women made by different groups of people, and to understand how they view women and the roles women play in our world.

As Nochlin said in the article: “Rather, using as a vantage point their situation as underdogs in the realm of grandeur, and outsiders in that of ideology, women can reveal institutional and intellectual weaknesses in general, and, at the same time that they destroy false consciousness, take part in the creation of institutions in which clear thought—and true greatness—are challenges open to anyone, man or woman, courageous enough to take the necessary risk, the leap into the unknown.”

Artists: Amy Meng, Anna Axenova, Fu Wenjun, Jacqueline May, Jenn Terrell, Lu, Nae Zerka, Naterrian Brown, Osama Elolemy, Pamela Chrabieh, Riley Kizziar, Ruiqi Qiu

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Amy Meng

如何成为连环杀手，综合媒介，水彩、墨、铅笔、纸、胶带、纱线、织物、线、别针和软木板，97x76cm, 2020 How to Become a Serial Killer, mixed media, watercolor, ink, pencil, paper, tape, yarn, fabric, thread, pins and cork board, 97x76cm, 2020 8

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我的实践源于对卡哇伊文化（东亚流行的可爱文化）、精神分析和手工工艺的迷恋。在此基础上，我研 究调查幼稚化、恋物癖、家庭生活等问题的矛盾性质，以及这些矛盾性质对个人和集体思想的影响。 My practice stems from a fascination with kawaii culture (the culture of cuteness prevalent in East Asia), psychoanalysis and craft. These interests act as a backdrop for my investigation into the ambivalent nature of issues such as infantilization, fetish, domesticity, etc., and their impact on the individual and collective mind.

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加油 !<3<3<3<3，录像和刺绣，21:49，2020 Fighting!<3<3<3<3 , video and embroidery, 21:49, 2020 To view full video: https://www.amymeng.net/video 12

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哭泣让女孩变丑（节选），视频和雕塑，34x104x68cm，41:24，2022 Crying Makes a Girl Ugly（excerpt）, video and sculpture, 34x104x68cm, 41:24, 2022 To view full video: https://www.amymeng.net/video 14

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Amy Meng 是一位以纤维为基础的跨学科艺术家， 在澳大利亚 Gadigalland 生活和工作，拥有新 南威尔士大学建筑学学士学位、克兰布鲁克艺 术学院纤维系的艺术硕士学位。她的作品曾在 美国和澳大利亚展出，在 Curious Magazine 和 OyeDrum 在内的多家出版物上发表。 Amy Meng is a fiber-based interdisciplinary artist living and working on Gadigal land, Australia. She holds a Bachelor in Architectural Studies from the University of New South Wales, and an MFA from the Fiber department at the Cranbrook Academy of Art. Her work has been exhibited across the United States and Australia, and featured in several publications, including Curious Magazine and OyeDrum.

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安娜·阿克塞诺娃 Anna Axenova

影子，油画，85×100cm, 2021 Shadow, oil painting, 85×100cm,2021 18

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每个女人都需要表达自己，可以是关于艺术、政治、电视、家政的等等。所以不可能说我们是彼此相似的，女人和女人也是不同的，必须 找到属于自己的方式。 Each individual woman needs to express herself. This can be art, politics, television, home economics, and more. So it’s impossible to say that we are like that and not others. We are different and have to find our own way.

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我是一位来自美妙的克里米亚共和国的艺术家。我 的艺术生涯始于 27 岁，这是一种内在的冲动，一 种宣言，因为我决定改变多年来从事的工作。 I am an artist, from the wonderful Republic of Crimea. My artistic career began at the age of 27.

It was an inner impulse, a manifesto, as I decided to change the job I had worked at for many years.

孔雀头发的女人，油画，70×50 cm，2019 Woman with peacock hair, oil painting, 70×50 cm, 2019 22

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傅文俊 Fu Wenjun

《别样的风景 No.1》数绘摄影 100x100cm 2021 Different Scenery No,1, Digital Pictorial Photography, 100x100cm, 2021 24

《别样的风景 No.2》数绘摄影 100x100cm 2021 Different Scenery No,2, Digital Pictorial Photography, 100x100cm, 2021 25

长期以来，女性总希望自己像时装模特一样高挑、纤细， 她们是女人理想的样子。但是，我们可能忽略了，对美的 定义其实来自社会文化，在当今时代甚至有资本的作用。 它通过种种方式告诉女性应该怎么打扮，用刻意制造的流 行趋势影响女性的消费选择。 这组作品拥有统一的色彩，代表着女性平等和自由的底色。 每一位女性都有权利按照自己的意愿选择穿着，进而选择 属于自己的生活方式，寻找属于自己、独一无二的生命意义。 For a long time, women always want to be tall and slender like fashion models, who represent an ideal look of women. However, we may have overlooked that the definition of beauty actually comes from social culture, and is even influenced the capital in our days. It guides women with various methods about how to dress up, and makes use of created fashion trends to influence women consumers’ choices.

The series show a unified color, representing the background color of women’s equality and freedom.

Every woman has the rights to choose what to wear according to her own wishes, and also choose her own way of life, find her own and unique meaning of life.

《别样的风景 No.3》数绘摄影 100x100cm 2021 Different Scenery No,3, Digital Pictorial Photography, 100x100cm, 2021 26

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《别样的风景 No.4》数绘摄影 100x100cm 2021 Different Scenery No,4, Digital Pictorial Photography, 100x100cm, 2021 28

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傅文俊，中国当代艺术家，毕业于四川美术学院，主要从事数字艺术、摄影、装置、雕塑、油画、综合媒介、图像艺术的创作， 提出并创立了“数绘摄影”艺术流派。 中国美术馆、重庆美术馆、广东美术馆、欧洲现代艺术博物馆、香港大学、今日 美术馆、圆明园遗址博物馆、美国纽约联合国总部等机构曾举办傅文俊个人展览；他受邀参加首届亚洲双年展暨第五届广州三 年展、佛罗伦萨双年展、塞尔维尔双年展、德国北部艺术区国际艺术大展（NordArt）、“未曾呈现的声音”第 55 届威尼斯国 际艺术双年展平行展、罗马视觉艺术三年展、伦敦艺术双年展、萨莱诺当代艺术双年展、基安恰诺国际艺术双年展、万国双年展、 首届地中海国际艺术双年展、意大利三年展等重要国际艺术展览。 Fu Wenjun, born in 1955, Chinese contemporary artist, was graduated from Sichuan Fine Arts Institute. He creates principally with digital art, photography, installation, sculpture, oil painting, mixed media, and has put forward the concept and practice of “Digital Pictorial Photography”.

National Art Museum of China (Beijing), Museu Europeu de Arte Moderno (Barcelona), The University of Hong Kong (Hong Kong), Today Art Museum (Beijing), Chongqing Art Museum (Chongqing), Guangdong Museum of Art (Guangzhou), Old Summer Palace Museum (Beijing), United Nations Headquarters (New York), and other international art organizations presented Fu Wenjun solo exhibitions.

His works are exhibited at significant international exhibitions, including 1st Asia Biennial/5th Guangzhou Triennial, Bienal de Cerveira, NordArt, collateral exhibition of Biennale di Venezia 2013, entitled Voice of the Unseen Chinese Independent Art 1979/Today, Esposizione Triennale di Arti Visive a Roma, London Art Biennale, Biennale d’Arte Contemporanea di Salerno, Chianciano International Art Biennale, Triennale dell’Arte Contemporanea.

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杰奎琳·梅 Jacqueline May

克拉拉，布面油画，40x50cm, 2022 Clara, Oil on Canvas, 40x50cm, 2022 克拉丽塔，布面油画，40x30cm, 2022 Clarita, Oil on Canvas, 40x30cm, 2022 32

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作为菲律宾和新西兰的混血艺术家，我的作品反映了在权利和压抑造成的不可避免的冲突。目光的交换和裸体表明 男性对女性的阅读和占有的悠久艺术史。然而，在这些作品中，危机在于观众，因为这些女性已经继续前进，将自 己从各种征服和殖民主义的不良情绪和认知中解放出来。她们正在观察，而我们在观察她们。 As a bi-racial artist of both Filipino and New Zealand descent, my work reflects the inevitable conflict in respect to privilege and societal oppression. Two internalized cultures working through the politics and practice of representation. The exchange of gaze and the nudity indicate the long art history of male perusal and ownership of women (maids, concubines, exotic muses, wives, daughters). In these works, however, the crisis lies with the viewer because these women have moved on, freeing themselves of the maladaptive emotional and cognitive states inherent within subjugation and colonialism of all kinds. They are observing us observing them.

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杰 奎 琳· 梅，1991 年 生 于 新 西 兰 塔 拉 纳 基， 是 一位在加拿大多伦多生活和工作的视觉艺术家。 毕业于奥克兰 Whitecliffe College of Arts & Design 大学，获得艺术学士学位。自 2010 年以来 一直担任艺术家、设计师和纹身师。她的工作重 点是跨越时间和社会动态的令人回味的具象意象。 Jacqueline May Rosewarne (b. 1991, Taranaki, New Zealand) is a visual artist who lives and works in Toronto, Canada. She graduated with a BFA from Whitecliffe College of Arts & Design, Auckland, in 2021 and has worked as an artist, designer and tattooist internationally since 2010.

Her work centers on evocative figurative imagery that transgresses time periods and social dynamics.

露丝，布面油画，40x30cm, 2022 Rose, Oil on Canvas, 40x30cm, 2022 36

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珍·特雷尔 Jenn Terrell

我想利用照片的力量来建立联系并将人们聚集在 一起。世界试图将女性描绘成软弱的 , 通过我的 作品，我想展示女性的力量和韧性。希望人们能 感受到创伤的眼泪、虐待的伤痕，以及可能与我 们所有人有关的痛苦。 I want to use the power of the photograph to create connections and bring people together.

The world tries to portray women as weak.

Through my work, I want to showcase the strength and resilience of those identifying as women. I aim to do that by showing the very human side of the oppressed. I want people to feel the tears of trauma, the scars of abuse, and the pain that relates us all.

无畏，数字摄影，40x50cm, 2019 Dauntless, Digital Photography, 40x50cm, 2019 38

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幸存者，数字摄影，40x50cm, 2019 Survivor, Digital Photography, 40x50cm, 2019 40

罗克萨娜，数字摄影，40x50cm, 2019 Roxana, Digital Photography, 40x50cm, 2019 41

女性主义者，数字摄影，40x50cm, 2019 Feminist, Digital Photography, 40x50cm, 2019 青年活动家，数字摄影，40x50cm, 2019 Young Activist, Digital Photography, 40x50cm, 2019 42

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珍·特雷尔是一位肖像和纪实摄影师。珍的作品 展示了广泛的主题和个人，从肖像到分享故事， 所有这些都以原始、诚实的美学呈现。她住在阿 肯色州的小石城。 Jenn Terrell is a portrait and documentary photographer. Jenn’s work showcases a wide range of topics and individuals, ranging from portrait sessions to sharing the stories of sexual assault survivors, all presented with a raw, honest aesthetic. She is based in Little Rock, Arkansas.

女性，数字摄影，40x50cm, 2019 Femina, Digital Photography, 40x50cm, 2019 44

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Lu

我的摄影是一个“存在并看到”的有机过程。 有许多女性下意识地保持沉默，很多都是这 样。这些图像捕捉到了一些隐藏的、沉默的、 单身和孤立的女性，她们可能有正常的生活， 但私下里却在忍受某些事情。 My photography is a ‘to be and to see’ organic process. There are many underrecognized women in silence which is one thing many women universally share.

These images capture some of the hidden, silenced, single and isolated women as they go about their day or know how to manage their day with what they may have endured privately and not being able to reach out so easily.

我相信她说的，摄影，25x25cm, 2019 I believed her because she said, photography, 25x25cm, 2019 46

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女性需要更多地去支持女性，而不是保持沉 默，适应群体，要坚持正确的事情，伸出援手， 因为有一天它可能是你（保持沉默的女人）。 有时老天会看到，让它发生在你的身上。 Women need to back women more and not stay silent to fit into a pack but to stand up for what is right and reach out as one day it could be you ( the woman that stayed silent).

Sometimes the universe sees and it comes back your way.

身份，摄影，25x25cm，2019 Identity, photography, 25x25cm, 2019 48

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前进，摄影，25x25cm, 2021 Moving forward, photography, 25x25cm, 2021 养育，摄影，25x25cm, 2021 nurture, photography, 25x25cm, 2021 新冠二人组，摄影，25x25cm，2021 Pandemic duo, photography, 25x25cm, 2021 50

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我是一位摄影和版画艺术家，曾在许多城市展出 过作品，专注于通过我的艺术创造意识来支持更 多女性参与社会问题。 I’m an emerging artist in photography and printmaking having exhibited in many cities and had a focus on supporting more women in social issues through creating awareness through my art.

新冠三人组，摄影，25x25cm，2021 Pandemic trio, photography, 25x25cm, 2021 52

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奈·泽尔卡 Nae Zerka

遗产，数字绘画，100x100cm, 2022 The Heritage, digital painting, 100x100cm, 2022 54

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邀请，数字绘画，100x100cm, 2022 The Invitation, digital painting, 100x100cm 谎言，数字绘画，100x100cm, 2022 The Lie, digital painting, 100x100cm 56

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无题（红），数字绘画，100x100cm, 2022 Untitled (Red), digital painting, 100x100cm, 2022 58

无题（黄），数字绘画，100x100cm, 2022 Untitled (Yellow), digital painting, 100x100cm, 2022 59

奈·泽尔卡 1969 年出生，在奥地利萨尔茨堡生活和工作。在数码泛滥的时代，他的作品用科技展现绘画的可能性。奈·泽尔卡 喜欢与计算机相关的活动，包括电子音乐和平面设计。他的艺术实践注入了从这些学科借鉴而来的视觉元素以及绘画触感。通过 数字技术再加上对比和线条的使用，使之形成新的形式。 Nae Zerka, born 1969, lives and works in Salzburg, Austria. In the age of frequent digital disruption, visual artist Nae Zerka showcase in his work the promising possibilities of painting with technology. As a child of the 80s, Nae Zerka has a penchant for computerrelated activities, including electronic music and graphic design. His artistic practice infuses visual elements borrowed from these disciplines with a painterly touch. Together with the use of contrasts and line work, they form new transformed worlds made possible by the digital realm.

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纳特里安·布朗 Naterrian Brown

女性坚强而大胆，她们值得被认可，而不仅仅作为家 庭主妇、妻子和母亲。女性体现了成为战士的意义和 令人惊叹的力量。 Women are strong and bold and they deserve recognition for than just being home makers, wives, and mothers. Women embody what it means to be a warrior and what it means to be amazing.

力量，干漆、丙烯、帆布，40x50cm, 2021 Powerful, dry paint, acrylic paint, canvas, 40x50cm, 2021 62

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愤怒，干漆、丙烯、帆布，20x25cm, 2019 Angry, dry paint, acrylic, canvas, 20x25cm, 2019

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大声，丙烯、帆布，20x25cm, 2019 Loud, dry paint, acrylic, canvas, 20x25cm, 2019

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我从高中开始就一直在做艺术。直到最近，我才 真正对艺术感到舒服。我已经能够画出我从未有 机会画的画。 I have been doing art since I was in high school.

I never really felt comfortable with art until Most recently. I’ve been able to paint pictures that I was never given the opportunity to do.

劳伦山，干漆、丙烯、帆布，20x25cm, 2019 Lauryn Hill, dry paint, acrylic, canvas, 20x25cm, 2019 心灵小孩，干漆、丙烯、帆布，40x50cm, 2021 Soul child, dry paint, oil paint and canvas, 40x50cm, 2021 66

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萨马·埃洛米 Osama Elolemy

多维度，120x80cm，2021 Multidimensionality, 120x80cm, 2021 68

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进化，90x60cm，2021 Evolution, 90x60cm, 2021 旅行者，90x60cm，2021 Voyager, 90x60cm, 2021 70

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在我的艺术中，试图强调人类复杂性的内在美和 外在美。有时，可能需要几个月的时间才能有一 个想法，找到适合的地点，拍出一些让人感到兴 奋的东西。 In my art, I try to accentuate both, the inner and outer beauty, of the splendor complexity of human beings. Sometimes, it can take months to come up with an idea, find the perfect spot and manage to capture something that can induce a state of euphoria.

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我是 Osama，又名“点击精灵”，一名项目经理、肖 像和艺术摄影师，居住在迪拜。我理念是向人们传达 美丽的视觉效果，同时融入我的见解、创造力、感受 甚至性格。我经常倾向于用艺术、时尚与超现实主义 的结合来揭示人积极的一面。 I’m Osama, a.k.a “GENIE IN A CLICK”;, a full time project manager with engineering background and an emerging self-taught portrait and fineart photographer, residing in the land of dreams, Dubai. My main concept is to convey to people not only a beautiful visual component, but also to incorporate my vision, creativity, feelings and even my personality. I often tend to use the combination of fine art and fashion with surrealism to reveal the bright side of people.

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帕梅拉·查拉比 Pamela Chrabieh

这三幅来自“超越沉默”系列的数字艺术作品， 汇集了西南亚女性的元素，为经常被遗忘的自 由和平等发声，描绘了女性在战争背景下的经 历。将她们归入静态的历史页面，在那里她们 被标记为受害者。 These three digital artworks in particular, from the “Beyond Silence” collection”, bring together the scattered elements of Southwestern Asian women, give voice to the often forgotten struggles for freedom and equality, and portray the experience of women in contexts of wars without relegating them to static pages of history where we only remember their status as victims.

超越沉默 V，数字艺术，2022 Beyond Silence V, digital art, 2022 74

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超越沉默 II，数字艺术，2022 Beyond Silence II, digital art, 2022 76

超越沉默 IV，数字艺术，2022 Beyond Silence IV, digital art, 2022 77

帕梅拉·查拉比博士是黎巴嫩裔加拿大视觉艺术家、研究员、活动家、作家和创意传播顾问，拥有超 过 20 年的国际化、跨学科经验。 Dr. Pamela Chrabieh is a Lebanese-Canadian visual artist, researcher, activist, writer, and consultant in creative communications with international and multidisciplinary experience for more than 20 years.

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莱利·基齐尔 Riley Kizziar

我呈现的图像是与我自己和个人关系的对话——权力与 恐惧、个性与联系、探索与思考。虽然非常个人化，但 我的经历和工作并没有脱离普遍的主题；我的照片可以 激发去思考自己的生活。 The images I present are dialogues with myself and the relationships around me- layered narratives of power and fear, individuality and connection, perfectionistic searching and quiet stilling. While extremely personal, my experiences and work are not separate from universal themes; my photographs are a point in which viewers can consider their own lives.

克里斯蒂，数字摄影，2019 Christie, Digital Photograph, 2019 80

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首先我把指甲涂成黑色然后我买了内衣，纸拼贴（扫描），2019 First I Painted My Nails Black Then I Bought Lingerie, Paper Collage (Scanned), 2019 郁金香，数字摄影，2021 Tulip, Digital Photograph, 2021 粉红裙子，数字摄影，2021 Pink Dress, Digital Photograph, 2021 82

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最后的光，数字摄影，2021 Last Light, Digital Photograph, 2021 84

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我是一位居住在美国华盛顿的艺术家，通过摄影和基 于图像的作品来探索我作为年轻女性的身份。通过审 视和记录信仰、人际关系、心理和性别的各个方面， 以个人经历为起点，邀请人们去了解自己和周围发生 的事情。 I am an artist based in Washington, the United States, who explores my identity as a young woman through photography and image based works.

By examining and documenting facets of faith, relationships, mental health, and gender, I seek to process my experiences and make my personal, universal, inviting others to understand themselves and the happenings around them.

舞蹈，数字摄影，2019 A Dance, Digital Photograph, 2019 86

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邱枘崎 Ruiqi Qiu

战纹是一个由摄影、影像和诗歌组成的视觉艺术作品。它着眼于赞扬女性身份以及尊重性别的可能性，同时反对由父权制支持的歧 视和限制。战纹结合了纹身这一古老的用以传递精神和信仰的技艺。我选择将女性器官（子宫、阴户、乳房）以深色颜料纹在一幅 亚裔女性的肖像上，这暗示着我的种族和性别身份。我厌恶那些需要女性成为一个由别人定义的正确且合适的女人的要求，因此这 幅肖像并不是一张完美而准确的照片。针在照片表面造成的损伤提醒着观众，性别问题发生在真实世界同时持续产生真切的影响。 此外，我为不同状况下的女性器官设计了不同的图案。这呼吁女性考虑彼此之间不同的文化背景和身体状态。一幅纹身图案是一种 女性的生活。一系列的图纹展现了许多种女性群体的生活的可能性，无论她们来自哪里。我试图将不同种族和文化背景的女性连接 在一起，鼓励她们反映自己的女性经历并且在其他女性身上寻找与自己的共同点。女人分享着父权制所构建的命运。同时，女人们 分享她们生活于一个不公平的社会的可贵勇气而且为了提升社会的包容性努力着。 女性不仅有姐妹情谊也拥有勇士精神。 Warrior Tattoo is a visual art project composed of photographs, a video and a poem. This work aims to honor the female identity and to respect possibilities of gender, in order to oppose the discrimination and limitation supported by patriarchy. It also combines the tattooing technique, an ancient method of conveying spirit and belief. I chose to tattoo female organs (womb, vulva and breasts) with the dark color on an Asian woman’s portrait which implies my race and female identity. The portrait is not a perfect and accurate photograph because I am sick of the many requirements that demanded women to be the right and appropriate woman who is defined by others. Meanwhile, the damage made by a needle on the surfaces of photos reminds viewers that gender issues are happening and keep making an impact in the real world. In addition, I have designed different patterns to represent the female organs in different conditions. It appeals to women to consider the differences of cultural backgrounds or physical body situations between each other. A pattern describes a kind of life of a woman. A series of patterns depict many different types of lives of female communities, showing the possibilities of a woman’s life wherever she comes from. I attempt to connect women from different races and cultural backgrounds, and encourage them to reflect on their female experiences and seek things in common from other females’ lives. Women are sharing the destinies structured by patriarchy. Meanwhile, women also share their courage while living in an unfair world and striving to improve inclusivity in societies. Women do have not only sisterhood but also warriorhood.

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战纹 _ 无题，喷墨打印和纹身，摄影和亚克 力，26.8×40.4cm, 2021 Warrior Tattoo_Untitled, inkjet printing and tattooing, photopaper and acrylic, 26.8 cm x 40.4 cm, 2021

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战纹 _ 乳房，喷墨打印和纹身，摄影和亚克 力，26.8×40.4cm, 2021 Warrior Tattoo_Breasts, inkjet printing and tattooing, photopaper and acrylic, 26.8 cm x 40.4 cm, 2021

战纹 _ 失去乳房，喷墨打印和纹身，摄影和 亚克力，26.8×40.4cm, 2021 Warrior Tattoo_Losing Breasts, inkjet printing and tattooing, photopaper and acrylic, 26.8 cm x 40.4 cm, 2021

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战纹 _ 月经，喷墨打印和纹身，摄影和亚克 力，26.8×40.4cm, 2021 Warrior Tattoo_Menstruation, inkjet printing and tattooing, photopaper and acrylic, 26.8 cm x 40.4 cm, 2021

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战纹 _ 阴户，喷墨打印和纹身，摄影和亚克 力，26.8×40.4cm, 2021 Warrior Tattoo_Vulva, inkjet printing and tattooing, photopaper and acrylic, 26.8 cm x 40.4 cm, 2021

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邱枘崎 1993 年出生于中国南昌，2019 年移居墨尔本， 2021 年于皇家墨尔本理工大学获得摄影硕士学位。 邱枘崎是一位对现实和其摄影表现之间关系感兴趣的 摄影师。摄影和雕塑作品质疑现实和具体的感觉，意 于破坏观众对真实性的无意识解读，以刺激人们重新 思考照片内容与图像外的真实世界的交叉区域。她痴 迷于探索理解摄影的新方法，对照片的普遍看法持怀 疑态度。 Born in 1993 in Nanchang, China, Qiu Ruiqi moved to Melbourne in 2019 and graduated with a Master’s degree in Photography at RMIT University in 2021. Qiu Ruiqi is a photographer interested in the relationship between reality and its photographic representation. The photographic and sculptural work questions the sense of reality and the concrete.

It disrupts the unconscious reading of authenticity to stimulate a rethinking of the intersectional area of photographs’ content and the real world outside the image. She is obsessed with exploring new ways of understanding photography with a sceptical attitude toward the common views of photographs.

战纹 _ 子宫，喷墨打印和纹身，摄影和亚克力，26.8×40.4cm, 2021 Warrior Tattoo_Womb, inkjet printing and tattooing, photopaper and acrylic, 26.8 cm x 40.4 cm, 2021 94

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