複寫的傑克森波洛克《自由形式》（1946）。
作品探索手勢和個人簽名之間的關係，放大藝術中難以迴避的受限感：無論是抽象表現主義被奉為冷戰時期的自由燈塔，抑或我個人對藝術史「正典」的追隨。
本作捐贈給 A.I.R. 畫廊（美國紐約）年度籌款活動。該畫廊致力提升女性和非二元性別藝術家地位，其 2025 年國家藝術基金的資助因與聯邦政府的優先事項不一致而被終止。
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A carbon copy drawing of Jackson Pollock’s Free Form (1946).
The work explores the relationship between painterly gesture and individual signature, amplifying the sense of restriction difficult to evade in art: whether it’s Abstract Expressionism being used as a beacon of liberty during the Cold War or me following the “canon” of art history.
It was donated to the annual fundraiser of A.I.R. Gallery (New York, United States), whose mission is to advance the status of women and non-binary artists, and whose 2025 National Endowment for the Arts grant has been terminated due to misalignment with the federal administration’s priorities.