在当代艺术的语境中,女性艺术家似乎在处于尴尬境地的同时,往往又具有一份偏执狂式的执着。在男性占据话语权力和社会主导性的情境之下,女性艺术家常常援引自我或他者女性的“身体”因素以反叛其作为男性附属物的境地,凸显自我存在的独立价值。尤其在上世纪后半期女性主义运动以来,这种趋势更为显著。作品中所呈现出来的这种“身体”意在宣称自己具有男性逻辑之外的本体论优势,然而大多无法规避迎合男性眼光与凝视的命运。因此,笔者在创作的“假日系列”作品中刻意远离女性的“身体”表达,贯注于一种自我审视,这 In the context of contemporary art, female artists seem to be paranoid at the same time in an awkward position. Under the situation where men occupy the power of discourse and social dominance, female artists often cite the “body” factors of self or other women in order to rebel against their status as male appendages and highlight the independent value of self-existence. This trend is even more pronounced, especially since the feminist campaign of the second half of the last century. The “body” presented in the works is intended to claim that it has an ontological advantage beyond male logic, but most of them can not circumvent the fate of meeting men’s vision and gaze. Therefore, the author in the creation of “Holiday Series ” works deliberately away from the female “body ” expression, focusing on a self-examination, which