Projects
Projects
Writing Samples
Writing Samples
Info
Info
Unseen Gestures:
The Echo of Women's Hands
Date: Oct–Nov 2025
Duration: 5 weeks
Status/Venue: Unrealised proposal · CityU HK CMC 3F Singing Waves Gallery
Team/Role: Group (8 members) · Lead curator · Visual/Spatial design lead
Key Contributions:
· Curatorial Framework + Research
· Artwork Selection & Curatorial Edit
· Spatial Layout & Installation Plan
· Key Visual Development + Print Materials
· Presentation Narrative + Show Flow
· Final Deck Review (Style + Consistency)
Date: Oct–Nov 2025
Duration: 5 weeks
Status/Venue: Unrealised proposal · CityU HK CMC 3F Singing Waves Gallery
Team/Role: Group (8 members) · Lead curator · Visual/Spatial design lead
Key Contributions:
· Curatorial Framework + Research
· Artwork Selection & Curatorial Edit
· Spatial Layout & Installation Plan
· Key Visual Development + Print Materials
· Presentation Narrative + Show Flow
· Final Deck Review (Style + Consistency)
Date: Oct–Nov 2025
Duration: 5 weeks
Status/Venue: Unrealised proposal · CityU HK CMC 3F Singing Waves Gallery
Team/Role: Group (8 members) · Lead curator · Visual/Spatial design lead
Key Contributions:
· Curatorial Framework + Research
· Artwork Selection & Curatorial Edit
· Spatial Layout & Installation Plan
· Key Visual Development + Print Materials
· Presentation Narrative + Show Flow
· Final Deck Review (Style + Consistency)
Exhibition Structure
Exhibition Structure
Unseen Gestures is an unrealised exhibition proposal that reads women’s hands as both celebrated emblems of agency and quiet surfaces where power settles, disciplines, and extracts.
Bringing together works across image, object, and moving image, it traces how ‘natural’ gestures of care and competence are produced by neoliberal self-management, patriarchal virtue, and post-colonial labour hierarchies.
Designed for a white-box gallery, the route loops as an arc. Deliverables include a three-part structure, spatial plan, brochure, and a works catalogue with notes.
Exhibition
Structure
Section 1
The Disciplined Body as Seen Through the Hand
The hand, often treated as merely functional, bears the earliest traces of social discipline. Its gestures are trained into acceptability; its surfaces learn to conceal strain, as femininity and propriety are rehearsed through habit, repetition, and touch. Viewers are invited to notice how ‘natural’ movements are staged, corrected, and internalised, and how power enters the body without spectacle.
Section 1
The Disciplined Body as Seen Through the Hand
The hand, often treated as merely functional, bears the earliest traces of social discipline. Its gestures are trained into acceptability; its surfaces learn to conceal strain, as femininity and propriety are rehearsed through habit, repetition, and touch. Viewers are invited to notice how ‘natural’ movements are staged, corrected, and internalised, and how power enters the body without spectacle.
Section 2
The Neoliberal Promise Embedded in Women’s Hands
Across contemporary culture, the hand is celebrated as a site of initiative and self-making, and it becomes a symbol of perseverance, creativity, and possibility. Yet this language of promise is rarely benign, because it folds women’s labour into aspiration while obscuring the conditions that produce exhaustion. Here, viewers are asked to track how empowerment rhetoric turns effort into moral duty and inequality into an individual burden.
Section 2
The Neoliberal Promise Embedded in Women’s Hands
Across contemporary culture, the hand is celebrated as a site of initiative and self-making, and it becomes a symbol of perseverance, creativity, and possibility. Yet this language of promise is rarely benign, because it folds women’s labour into aspiration while obscuring the conditions that produce exhaustion. Here, viewers are asked to track how empowerment rhetoric turns effort into moral duty and inequality into an individual burden.
Section 3
The Colonial Afterlives Carried by Hands of Care
Care is organised through uneven histories of empire and migration, and these histories shape whose hands serve and whose bodies are allowed to rest. In this section, the hand registers the afterlife of colonial order as a living infrastructure of dependency, disposability, and intimate service. Viewers are asked to attend to how ‘care’ is racialised and outsourced, and how devotion can mask extraction and fatigue becomes normalised.
Section 3
The Colonial Afterlives Carried by Hands of Care
Care is organised through uneven histories of empire and migration, and these histories shape whose hands serve and whose bodies are allowed to rest. In this section, the hand registers the afterlife of colonial order as a living infrastructure of dependency, disposability, and intimate service. Viewers are asked to attend to how ‘care’ is racialised and outsourced, and how devotion can mask extraction and fatigue becomes normalised.
Artwork Selection
Artwork Selection
Section 1
The Disciplined Body as Seen Through the Hand
Claire Watson
American, 1957–
Neither and Both
2005
Cloves, glove leather, wire, sawdust, aniline dye; wall mounted
Each approx. 28 x 13 x 8 cm
Claire Watson’s Neither and Both cuts, stitches, and stuffs used ladies’ leather gloves into a corset-like form, turning a ‘protective’ accessory into a rigid structure of restraint.
In Section 1, the work frames the hand as a site of discipline shaped by everyday norms, and it invites viewers to notice how softness is engineered into constraint long before the hand can appear ‘capable’, creative, or caring.
Section 1
The Disciplined Body as Seen Through the Hand
Claire Watson
American, 1957–
Neither and Both
2005
Cloves, glove leather, wire, sawdust, aniline dye; wall mounted
Each approx. 28 x 13 x 8 cm
Claire Watson’s Neither and Both cuts, stitches, and stuffs used ladies’ leather gloves into a corset-like form, turning a ‘protective’ accessory into a rigid structure of restraint.
In Section 1, the work frames the hand as a site of discipline shaped by everyday norms, and it invites viewers to notice how softness is engineered into constraint long before the hand can appear ‘capable’, creative, or caring.
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