The primary objective of “Fluid Beauty” is to reshape people’s perspectives concerning gender, gender expressions, and sexuality. More specifically, by providing the visual narratives of Jing, an individual who is the same as me, being gay and once struggling with cisnormativity, it could provide the audience with another angle regarding gender, thereby encouraging them to explore additional possibilities of gender expression.
The content of “Fluid Beauty” is mainly focused on the exhibition of effeminate characteristics of male individuals. Specifically, the key creative pieces of this visual art combine male figures with elements related to women from historical and traditional perspectives. This visual art production attempts to illustrate societal stereotypes of femininity through the use of objects that are strongly associated with femininity. Through visual representation, I hope to convey that male, tenderness, sexiness are not in conflict with each other. One’s body should not be like a prison where what is appropriate is dictated. Apart from that, the selection of lily as a component in this visual artwork is motivated by the fact that the Chinese term for lily symbolizes the collective of lesbians. Therefore, in those images of Jing and lily together, I intend to express the universality and beauty of homosexuality. Additionally, the intention behind the use of neckline images featuring blossoms is to communicate that femininity is not an extraneous, non-essential attribute, but rather a quality that can be genuinely embodied is universally reasonable. Visual complementarity is also achieved through a combination of pink flowers and pink clothes. The collocation with Jing makes the image run counter to the conservative ideas regarding gender in society, so as to express opposing viewpoints on gender stereotypes. It is worth noticing that the use of mirrors in this work indicates the fact that members of the LGBTQ community will engage in numerous self-dialogues during their development; the images of holding flowers in front of the mirror or lying on the sofa with the mirror serve to illustrate this self-dialogue. The “self-dialogue” may consist of their uncertainties regarding their own gender identity, thoughts and critics from the outside world, and their personal fear of living and growing up in a cisgender society. Besides, the mirror indicates that self-dialogue is strongly related to ego given that the growth of trans is often accompanied by feelings of isolation. I hope that by doing so, the audience will come to understand how difficult growth can be for a transgender individual, and that this will have an impact on how they perceive transgender individuals in the future.…The primary objective of “Fluid Beauty” is to reshape people’s perspectives concerning gender, gender expressions, and sexuality. More specifically, by providing the visual narratives of Jing, an individual who is the same as me, being gay and once struggling with cisnormativity, it could provide the audience with another angle regarding gender, thereby encouraging them to explore additional possibilities of gender expression.
The content of “Fluid Beauty” is mainly focused on the exhibition of effeminate characteristics of male individuals. Specifically, the key creative pieces of this visual art combine male figures with elements related to women from historical and traditional perspectives. This visual art production attempts to illustrate societal stereotypes of femininity through the use of objects that are strongly associated with femininity. Through visual representation, I hope to convey that male, tenderness, sexiness are not in conflict with each other. One’s body should not be like a prison where what is appropriate is dictated. Apart from that, the selection of lily as a component in this visual artwork is motivated by the fact that the Chinese term for lily symbolizes the collective of lesbians. Therefore, in those images of Jing and lily together, I intend to express the universality and beauty of homosexuality. Additionally, the intention behind the use of neckline images featuring blossoms is to communicate that femininity is not an extraneous, non-essential attribute, but rather a quality that can be genuinely embodied is universally reasonable. Visual complementarity is also achieved through a combination of pink flowers and pink clothes. The collocation with Jing makes the image run counter to the conservative ideas regarding gender in society, so as to express opposing viewpoints on gender stereotypes. It is worth noticing that the use of mirrors in this work indicates the fact that members of the LGBTQ community will engage in numerous self-dialogues during their development; the images of holding flowers in front of the mirror or lying on the sofa with the mirror serve to illustrate this self-dialogue. The “self-dialogue” may consist of their uncertainties regarding their own gender identity, thoughts and critics from the outside world, and their personal fear of living and growing up in a cisgender society. Besides, the mirror indicates that self-dialogue is strongly related to ego given that the growth of trans is often accompanied by feelings of isolation. I hope that by doing so, the audience will come to understand how difficult growth can be for a transgender individual, and that this will have an impact on how they perceive transgender individuals in the future.WW…