demonstrate her self confidence without resorting to novelties among contemporary anti-hero's atmosphere. And her extraordinary sized works refers to no great “somebody” as patriarchy requires, but to “nobody” in an anonymous way. Xiang Jing stressed: “Our sense of contemporariness is not determined by means, methods or technologies, but by whether your reflection concerns contemporary spiritual question or not. I merely distinguish good and bad arts and use sculptures to express this contemporariness. Everything could be contemporary for me. ”
[7] If we compare her works with Yang Shu-qing's (楊淑卿)
The Spring, we could find the adolescent girl motif in Xiang Jing's works has her own outstanding features, as Yang's work remains a feminine tradition of beauty and shyness even its form is more “modernized”. Critic Zhu Zhu emphasized that “there is a gender ‘degree zero’ or ‘neutralized’ inclination in Xiang Jing's works that some work of her female nude seems to be made as the mythical first woman, not yet being put between gender struggles in reality… just a living body! ” In other words, “adopting a masculinized feminine body or androgynous ambiguities, her sculptures of bodies achieve to dissolve some masculine subjectivities.”
[8]One notable thing for Xiang Jing's works is that even she emphasizes the adolescent girl (even virgin) motif, female bodies under her hands have cool moods and appearances in usual. Xiang Jing once referred to her studio: “My studio is cool in tone, I prefers to paint it in cool color even under hot weather. Part of the cause could be attributed to my too-ready-to-burn character. Cool tone becomes my fire extinguisher and tranquillizer. ”
[9] As a result, her sculptures of female bodies always demonstrate the minimum and direct human quality, yet seem to be detached from any specific time-space, social class or realistic association. Their solitude and calmness is quite different as compared with those distorted or struggling figures under environmental pressure as exemplified by Francis Bacon's hands. However, female bodies by Xiang Jing defy also that dead stillness, as well indicated in her work
The Center of Quietude (2007). It deals with an erotic motif of adolescent exploration of private sexual parts and desires. Such transgression of morality was common and could be traced back to surrealism, as