NG Hiu Tung, Rita
吳曉彤

NG Hiu Tung, Rita creates works that are self-reflective and emotionally expressive. Inspired by her daily experience as a woman, she creates paintings and embroidery, in order to challenge the deviations and stereotypes of the female identity that are shaped by traditional and modern ideologies.

'I value traditions, but I also rebel against them. I think they are the two sides of the same coin. I like to find outdated dogmas in different religions and traditions and to criticise their authority and indisputable existence, in order to find the balance between traditions and our contemporary lifestyles.'

吳曉彤的藝術作品具有自我反思和情感表達的特點。她以自己的日常生活經驗為靈感,創作繪畫和刺繡作品,來挑戰傳統和現代意識形態塑造的女性身分的偏差和刻板印象。

「我注重傳統,亦渴望反叛傳統。我認為兩者是同一枚硬幣的正反兩面。我喜歡在不同的宗教信仰和傳統中尋找過時的教條,並批判它們的權威性的存在,以便在傳統與現有生活之中找到平衡點。」

Genealogy
家譜

Wooden board, pollen
木板、花粉

210 × 175 × 3 cm

Trees and flowers are often used as implicit references to male and female genders in traditional Chinese culture. In Genealogy, NG Hiu Tung, Rita appropriates the symbolic meaning behind trees and flowers, using the imagery of tree rings to represent the inherent position of men in the lineage succession, and the faint imagery of pollen to embody the lack of women's status in family. The combination of the two reveals the patriarchal structure constituted by the traditional concept of seniority, visualising an image of genealogy dissecting power and class.

'This is the history of my upbringing. I grew up in this modern society that advocates gender equality but still instills us with the concept that women are inferior to men. It is uncertain whether it is a general phenomenon or individual cases, but this concept can still be verified in the genealogy.'

樹和花常是中國傳統文化中指代兩性的隱寓。在《家譜》中,吳曉彤挪用了樹和花的象徵意義,以年輪的圖像代表男性在血脈傳承中的固有地位,以隱約的花粉繪畫代表女性所缺失的家族地位。兩者的結合展現了傳統長幼尊卑觀念所塑造的父權結構,構成了寓意着權力和階級的族譜視覺圖像。

「這是我成長的歷史,生長在這個提倡男女平等的現代社會,卻從小被灌輸男尊女卑的家庭概念。這究竟是普遍現象還是個別例子,我無從稽考,但這種觀念仍然能在族譜中得到考證。」