对袁耀敏而言,生活并非是坚不可摧的,她要做的是用自己的眼光寻找日常生活的缝隙,并用自己的艺术将这种缝隙扩大。袁耀敏早年的作品一度用女性符号来消解男性叙事。在她的创作中男性和女性、阳性和阴性符号一直是处在一种对立的存在关系之中。这些符号互相消解,又彼此共存。这次袁耀敏选择了用于刺绣的绣花绷子作为主要符号。她用东方女性劳作的符号(绣花绷子)来取代阳性的艺术符号(传统的油画内框)。和她以前的作品相比,这些作品开始了对女性艺术本身的 For Yuan Yaomin, life is not indestructible. What she wants to do is look for the gaps in her daily life with her own eyesight and expand her gap with her own art. Yuan Yaomin’s early works once used female symbols to dispel male narratives. In her creations, male and female, positive and negative symbols have always been in an opposite relationship. These symbols digest each other, but also co-exist with each other. This time, Yuan Yaomin chose embroidery hoops for embroidery as the main symbol. She replaced the symbols of the eastern women’s work (embroidery hoops) with positive artistic symbols (the traditional inner frame of oil paintings). Compared with her previous works, these works started to the female art itself