這件上半身雕塑以沉靜的姿態呈現，頭頂延伸出一對類似鹿耳的結構，柔軟地豎立著。藝術家的雙手輕輕抬起，指尖觸碰著自己的耳廓，彷彿在撫摸、聆聽或測量自身異化的痕跡。與《鹿野之靈》中手掌向外張揚的儀式感不同，這裡的手勢轉向內省——手指與耳朵的接觸點，成為自我審視的錨點。人物的眼神坦然直視，沒有一絲慌亂或抗拒，反而帶著一種接納與覺察的清明。整件作品探討的是「異化中的自我凝視」：當身體的部位開始變形、增生，主體如何以平靜的覺知與之共存。陶土的質感保留了藝術家手作的溫度，肌膚般的紋理與耳朵的輪廓相互呼應，讓這尊雕塑成為一場關於自我對話的靜默劇場。 This bust sculpture presents a serene posture, with a pair of deer‑like ears extending from the crown, softly erect. The artist’s hands are gently raised, fingertips touching the contours of the ears, as if caressing, listening, or measuring the traces of self‑alienation. Unlike the outward‑reaching palms in Spirit of the Deer Park, here the gesture turns inward—the point of contact between fingers and ears becomes an anchor for self‑examination. The figure’s gaze is calm and direct, without a trace of panic or resistance, instead carrying a clarity of acceptance and awareness. The entire work explores “self‑gazing amidst alienation”: when parts of the body begin to deform and proliferate, how does the subject coexist with them in tranquil awareness? The earthenware texture retains the warmth of the artist’s hand, with skin‑like textures echoing the contours of the ears, making this sculpture a silent theater of self‑dialogue.
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1 PICode is a patented technology developed by an HKUST professor in collaboration with Articulator.
