My summer show work named <A Wounded Girl>
This work shares the story of a girl tormented by the lingering effects of childhood trauma. Tortured by painful memories, crying is her only way of release and as her tears evaporate mottled salt marks appear on her face; like a language of its own or a record of pain. The mask-like armour isolates the girl from the world, making it more difficult for her to see beyond open wounds and seemingly, ceaseless pain. As more time passes, more tears flow, more salt accumulates, the mask thickens.
For me, this is a body armor, accumulated by salt tablets, which represents the "defense mental wall" that I slowly left behind after suffering. The only way for me to vent is crying, and salt is part of the tear component, so I used salt to make this squama-like shape to express the traces or evidence that I left after each pain. I use the form of armor to express the psychological defense wall cast by sadness. Wire weaving also means that I was troubled by memory. Because salt is part of the tears, because after the tears evaporate in the experiment, salt marks appear. And because for a long time, salty and tears are a whole in my mind, thus salt and tears are inseparable in my heart.
Conclusion：
1. Whether the work needs to increase interactivity, and the interaction can make audiences feel the emotions and stories expressed by the work.
2. The feeling that the work gives me is unfinished (It is part of the final product), what is next step？
3. Audiences with similar experiences will have a more obvious observational response, and those without similar experiences will find it more difficult to appreciate this complex emotion. So how can I connect private personal emotions with the emotions of others?
4. Apart from crying, is there any other way to show the inner sadness？
Comments