On the Feminine Image as Represented in Xiang Jing's Sculpture

could be seen in The Great Masturbator by Salvador Dali or some lesbian motif works of Leonor Fini. But in field of sculpture, Xiang Jing provides one example in concrete image and direct impact.
Her work To Us... (2007) leads us also to a convenient association for a lesbian motif of “between us”. We see two girls standing one following the other. Their thin faces and bare heads show no slightest desire to welcome any male voyeurism. One girl stretches out a hand to touch the other's side, as if some feminine continuity has been established for their common corporal experiences, including anxieties relating to their breast growth. Besides, Xiang Jing's work I Am 22 Years Old, But Without My Period (2007) also criticized, from another dimension, those reclining women as done by male artists' hands, even in an ironic way.
However, this does not mean Xiang Jing never took reference from masculine art tradition, but rather tried her frequent hands to innovate it. For example, her Mortals-Endless Tower (2011) reminds us Constantin Brancusi's Endless Column. Yet the piling up of simple geometric forms of the latter has been replaced by Xiang Jing with ten or fifteen acrobat girls in regular postures and different facial expressions.They all have pliable bodies through strict training so that each of them could reverse their legs as if replacing two hands of her upper girl. This human tower could hardly be realized but could demonstrate nevertheless some 'feminine sublime' that distinguished from a masculine one. And these girls could maintain their persistent smile even in hardship, which also could satirize that disciplinary institution forcing them to endure their over-burdened sadness.
One other merit of Xiang Jing's works rests on her reluctance to exaggerate artificial bitterness, as done by Gina Pane and Orlan, or to distort human figures as Francis Bacon did. She could be comparable with some Taoist who would like to return to simplicity and find that body’s minimum status and calmness imply an alternative plenitude. Xiang Jing's works thus draw inspiration also from animal in our natural world and she regards them as mirrors of our human existence. 
As in Otherworld -- Will Things Ever Get Better? (2011), Xiang Jing encourages us to a new understanding of that miserable ecological situations