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Self-play I
2023 ; art performance; 3'39''

Painting one's chest through an outside source can be interpreted as materialised external influences and pressures, and then wrapped in a layer of transparent paper, which was used in this paper's last project, and which can be well shaped to destroy, as well as transparent enough to not be completely obscured. Here I picked my boyfriend as one of the external influences to apply the paint to me, but actually it would have worked better if there were a variety of people to apply it to. But due to the circumstances there was no way to achieve such a requirement. For the colour of the paint I chose crimson, which for me has a warning, taboo, harsh and hideous connotation.

elf-play II
2023 ; art performance; 16'54''

Simulating the previous state of breathing compulsion, breathing compulsion as one of the serious behavioural compulsion, it may not seem to have any major compulsion problem, but it is mainly make your because always control your consciousness to do deep breathing make you gradually painful, as if there is no way to focus on other things. Taking deep breaths over and over again will make you feel like you're going to die if you take a small breath, so you have to strongly control your body to compromise by taking deep breaths, and by continuing to take deep breaths at an undiminished rate you'll want to have physical reactions like yawning or even retching. Every time I breathed the paint on my body, and the marks of my struggle stayed on the transparency. But in the middle of the compulsive behaviour, the sound of the window, other thoughts in your brain will draw you back to forgetting to breathe. My breathing compulsion is much better aligned now, but it still causes me a lot of pain to do this behaviour. In just 20 minutes it already breaks me down quite a bit.

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self-play III
2023 ; art performance; 25'05''

2023 ; painting on glassine paper  Pencil 、 Paintbrush  、Acrylic; 092mm*787mm

I recreate in the picture with beautiful splendour, unnatural  coverings, as I myself wander through society as if I were alive in the expectation of the crowd. 

​concept-"equal and contradictory personal experiences of taboos and transgressions"

 the inspiration of art Performance 

It shows that the Ego is in an ambivalent attitude towards something, on the one hand it desires to engage in this behaviour and enjoys it, but at the same time it cannot do it and at the same time it hates it, the two feelings of love and hate, because they are evenly matched and frozen inside the Ego's heart. The two feelings of love and hate, because they are so evenly matched in the heart of the "ego", cannot be resolved quickly. And I am always facing this kind of ego struggle in my life, and I am always wandering around the warning line of what to do or not to do. In this game, the "ego" and the "self" are restored to a state of extreme pain and compromise in the process of compulsive behaviour.
The taboo is not as out of reach as we first thought it was, it controls our own moral and customary prohibitions. Moreover, understanding the interpretation of "taboo" will bring new insights into the obscure origins of our own "categorical imperatives"

 how to understand the phrase "equal and contradictory persinal experiences of taboos and transgressions"

Prohibitions eliminate violence, and our violent impulses (those which correspond with sexual impulsions can be counted among them) destroy within us that calm ordering of ideas without which human awareness is inconceivable. But if this awareness is to bear precisely on those disturbed impulses of violence, that implies that it has first been able to set itself beyond the reach of taboos: this presupposes that we can direct the light of the questioning intelligence on to these taboos themselves, without whose existence it would never have functioned in the first place. The aware intelligence cannot in this case look on them as a mistake we are victims of, but as the outcome of the fundamental emotion on which humanity depends. The truth of taboos is the key to our human attitude. We must know, we can know that prohibitions are not imposed from without. This is clear to us in the anguish we feel when we are violating the taboo, especially at that moment when our feelings hang in the balance, when the taboo still holds good and yet we are yielding to the impulsion it forbids.!If we observe the taboo, if we submit to it, we are no longer conscious of it. But in the act of violating it we feel the anguish of mind without which the taboo could not exist: that is the experience of sin. That experience leads to the completed transgression, the successful transgression which, in maintaining the prohibition, maintains it in order to benefit by it.

a scientific approach to working with taboos 

If the taboo conserves its full force there is a difficulty.Taboos acted on behalf of science in the first place. They removed the object of the taboo from our consciousness by forbidding it, and at the same time deprived our consciousness---our full consciousness, at any rate—of the movement of terror whose consequence was the taboo. But the rejection of the disturbing object and the disturbance itself were necessary for the clarity, the untroubled clarity, of the world of action and of objectivity. Without the existence of prohi- bitions in the first place, man would not have achieved the lucid and distinct awareness on which science is founded.

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