Maria Series

In my art historical research, I observed that the image of the Mother Maria in the Middle Ages was strikingly different from the one most familiar today. She was not only a gentle mother but also a “warrior” and “protector”: she could crush serpents, repel demons, and spread her cloak to shelter believers, embodying both strength and boundary.

My works resonate with these medieval representations on a spiritual level.

Reclaiming Power: In my paintings, Mary rolls her eyes, refuses the angel, or responds with disdain. These gestures challenge the traditional role of passivity and submission, reinterpreting her as an autonomous and active figure.

Protection and Boundaries: She no longer serves only to shelter others, but emphasizes territorial awareness and self-protection, embodying a defensive stance in a contemporary context.

Collective Energy: If medieval Mary bore the responsibility of protecting the Christian community, my interpretation transforms her into a symbol of “collective feminine energy,” leading the way through inner work and self-awareness.

Although medieval depictions and my work do not overlap directly, they are deeply connected in spirit. Both reject Mary’s confinement to a passive role, instead presenting her as a subject of strength and boundary. The difference lies in their focus: the medieval Maria battled demons and shielded Christians, while my Maria confronts patriarchy and safeguards female subjectivity.

在藝術史研究中，我注意到中世紀的聖母瑪利亞形象與現代普遍理解的截然不同。當時的瑪利亞不只是溫順的母親，而同時是「戰鬥者」與「守護者」：她腳踩在巨蛇頭上、擊退惡魔，或張開斗篷庇護信徒，展現力量與邊界。 我的作品在精神上與這些中世紀形象有所共鳴。 

・權力的奪回：作品中，瑪利亞翻白眼、拒絕天使，或以冷淡姿態回應，挑戰被動與順服的傳統角色，轉而展現自主與能動性。

・守護與邊界：她不再只是庇護他人，而是強調自身的領地意識與邊界設定，成為現代語境下的防禦者。 

・集體能量：若說中世紀的瑪利亞承擔的是庇護信徒的集體責任，我的詮釋則讓她化為「集體女性能量」的象徵，承擔內在功課並走在前方。 

中世紀與我的作品雖不直接重疊，卻在精神上密切相關。兩者都拒絕將瑪利亞侷限於溫順的形象，而是展現她作為力量與邊界的主體。不同之處在於，中世紀的力量對抗的是惡魔並守護基督徒，而我的版本則轉化為對抗父權，並守護女性的主體性。