A Boy
Standing
On The
Untrodden
Ground

I came across a picture of my childhood. I rode on the bike in a printed dress and skirt my grandmother had made for me and a lace hat. I was thinking about
what had influenced my life, and three of the important
women were my grandmother, my mother and
my sister. They have accompanied me
and witnessed my growth.
Moreover, they did
not tell me how
to be more
masculine
when I was
growing up. They
taught me how to be myself,
whether it was a vulnerable male or
a vulnerable female. Men's vulnerability
and women's strength are often contrary to reality.
In today's society. Men's strength is infinitely amplified,
and women's independence is oppressed. I am looking for a
piece of land, which does not have to hide the inner self, feet on
untrodden land, eyes on the scenery that no one can see.

Resistance to stereotypes is my design goal.

When I was a small boy growing up in China, I often wore dresses that were lovingly handmade by my late grandmother. This was radical by the standards of the time when males were encouraged to be manly. It is unclear why she made these dresses for me.

Maybe I asked her to or perhaps she was ahead of her time and was simply an enlightened and bold pioneer. I guess I’ll never know. Like my grandmother, I want to challenge the perpetuation of stereotypes and build a land where anything is possible - where all cultures and genders can walk freely and wear whatever they choose.

  But first,
   how
       are
           you?

  I’m fine.

——————————————————————————————————————————————

Creative
Publishing
in the
Art

I have been questioning the place of 'Beauty 'in people's contemporary lives, not only in its grand carrier as a sensory vehicle for self-expression but also for the part it plays in our perpetually evolving relationship with daily life.

The pursuit of 'beauty' in contemporary society has always tended to be similar, in which ' beauty' is perfect. The combination of strangeness and decay is more intoxicating than ideal beauty, and in my opinion, 'perfect beauty' is not the starting point, let alone the endpoint. In this magazine, reflections on self-dress, life during the Great Embargo and silhouettes under the 'Darkest self-dress, life during the Great Embargo and silhouettes under the 'Darkest Hour'. There is much to be said about symbols here, but it is more about how they are used. In this magazine, I look at the concept of beauty and put it into what they are used to. In this magazine, I look at the concept of beauty and put it into contemporary life, but in a different way. I reject current work, preferring hand-drawn collages with a handmade texture to electronic painting and perfect prints. perfect prints.

However, the making of clothes and the making of magazines are two completely different experiences for me. The former is often full of uncertainty and randomness. But publications tend to feel cold and calm, infinite in the spacing of words, phrases and sentences, orderly in all their planning, like a complicated metal factory, but increasingly distant from the planning, like a complicated metal factory, but increasingly distant from the flashy information and theories of conception. The feeling is like that of a man without clothes.

I have taken an experimental approach in this magazine to explore how contemporary publications exist in modern life. It could be anything, a magazine, a collage or an essay. The pages contain critical points from my magazine. The pages contain critical points from my past life, which were enough to change the trajectory of my life, and all the drawings, paint, tape, water and paper on the pages are the result of countless uninhibited and warm creations. This casual and crude approach rebels against the beauty of 'perfection' in contemporary life. The imperfection that exists in the present is the natural and self-contained life.

At the same time, I invited an artist friend to explore this topic together, dismantling self-criticism and self-reflection under contemporary life through the analysis of current publications. It is like a manifesto, a long-lasting force in the silent world.

Submission
Under
The
Power

With “Submission under Power” as the theme of the entire project, the Skinhead culture that emerged in London, England, in the 1960s was the main background. Over time skinheads culture produces a lot of branches, such as Neo-Nazi Skin; SHARP Skin ( Skin Head Against Racial Prejudice); GAY Skin, etc. Resulting in a partial political ideology of the extreme right and extreme left, which you can see as part of skinheads under the power to resist oppression, Gay Skin tries to embody their strength and rights in the social environment they live in. At the same time, there is a clear understanding of the desire of the other extreme skinheads for violence and power. I think people have power but are also forced to obey the people; it is very interesting. So I came up with an example of human nature about obedience under power- ‘sex‘ is a good example. People's pursuit of ‘sex‘ is not limited to simply breeding; many people will get enjoyment from it, looking for pleasure; sexual abuse is a good example. The abuser enjoys the pain of the abused, and the abused enjoys the dominant sense of pressure and fear. The abuser is the one who is forced to obey this behaviour, and the abused also has a strong right to show his pain. As a result, the whole series produced a lot of key points of sexual abuse cues.

Finally, the whole series of clothing combines the characteristics of power and oppression, in order to express a pursuit of power and obedience, eager to show a natural release, a spirit of resistance to nature.

ShíTáo Táng

A Boy Standing On The Untrodden Ground

Submission Under The Power

A Boy
Standing
On The
Untrodden
Ground

Submission
Under
The
Power