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Later, I first saw Xue Ying's work within the meandering layout of Click Ten Gallery. It was a set of feminine expressions that combined an intense gender perspective with cutting-edge artistic language. An image-based performance work titled Individual Training Mechanism was projected on the wall as a background: the artist repeated sit-ups, hitting a stocking sandbag swinging in the air with her head over and over again. In the center of the space, a rope woven from hair suspended a stainless-steel sharp knife; the tip of the knife pointed downward into a battered iron pot and spun madly. As the knife rotated, it constantly struck the iron pot, producing sharp, irregular, and violent whistles. Xue Ying titled this work Crazy Wife. Another work on the wall was another double-headed, double-edged sharp knife, resolutely cutting a kitchen rag into the wall. Xue Ying's naming for it was highly situational: That We Don't Eat Until Your Father’s at the Table. During the viewing process, a profound resonance rose within me, gradually condensing into a sense of respect for this young artist.
I think what struck me most about Xue Ying was a kind of consistency. She daringly announces herself as a feminist in her bio; in interviews, she meticulously unfolds a feminist "science education" for the other party; and in her creations, she implements feminism with the same firmness and clarity. She does not let the "ism" fade into the background; instead, as both a creative proposition and the core of a spiritual entity, she constantly polishes, refines, and amplifies it, continuing to explore the different facets and variations the idea can reach in this process. Because of this high degree of identification with feminism, she appears to be a person of action whose deeds match her words, and she thus seems free—a relative freedom.
