青春期｜Puberty

創作理念｜Artist’s Concept
以「觀用少女」的概念，表達這種純粹為了被觀看、敘事性弱的圖像。有前述性質的作品，可能會提高畫面精緻度與裝飾性（浮世繪：花魁圖），並安排毫無防備、人物性格不被重視的女性為元素。這些女孩們與觀者沒有視線或情感的雙向交流，可能是沒有意識到自己正在被觀看（偷窺？），有的雙眼如鏡，毫無感情地將視線反彈給觀者：「我知道你正在看著我。」觀用少女不傳達女性情懷，只反映人們觀看的慾望。近代社會中（1970～90 年代），少女們一旦現身於公眾，便得承受各種好奇眼光。女孩們對畢業後的婚姻、職場以及其他社會藩籬感到無比憂慮，只能向女學校、少女雜誌、只有女孩的世界求救，看見傷感的少女插圖，心靈便因產生共鳴而得到些許安慰。現代社會中（2000 年後），世風較以往自由，生活多了許多休閒娛樂，但氾濫的媒體資訊卻使物化更加嚴重，因此少女的陰鬱並未放晴，伴隨著青春期增生的複雜思緒也未曾減緩。

Drawing on the idea of the “girl made to be looked at”, these images exist purely to be viewed, with little narrative. Such works tend to heighten refinement and ornament (as in ukiyo-e courtesan prints) and feature women who are unguarded and whose personalities go unregarded. The girls share no exchange of gaze or feeling with the viewer — perhaps unaware they are being watched (voyeurism?), or with mirror-like eyes that coolly return the gaze: “I know you are looking at me.” She conveys no feminine sentiment; she only reflects our desire to look. In the 1970s–90s a girl who appeared in public had to endure curious stares; anxious about marriage, work and other social barriers after graduation, girls sought refuge in girls’ schools, girls’ magazines and all-girl worlds, finding a little comfort in wistful illustrations of girls. Since 2000 society has grown freer and leisure more abundant, yet a flood of media has deepened objectification — the girls’ melancholy has not lifted, and the tangled thoughts of adolescence have not eased.