Hu Zi hides her own eyes behind her hair.
This concealment is nonetheless revealing. The viewer is left to
put together the puzzle of her personality through the minimalistic
lines of her profiled ear, nose, mouth and hand. The works in the
triptych are like film frames that zoom out from a close-up to full
body shot in which we see her hand holding a marijuana joint.
The blackness of the background, hair and shirt reinforce the dark
side, while the sun-orange leather coat, her hands and facial
features offer a glimpse of the lighter side of her personality.
Seemingly shy, Hu Zi sits back in the shadows and hides behind
the curtain of her straight black hair, which she can open and
close at will, observing through her private window.

Hu Zi leaves plenty in her self-portrait for future artists to
“correct”, as well as in her rectified portraits of historical icons
from the 16th and 17th centuries. “You pour lives into the portraits,
and they will live their own,” she wrote for her 2018 exhibition
catalogue, Stone Flesh.

胡子侧着头，她的头发遮住了她的眼睛。不 过，这种隐藏同时也是种显现。观者透过她的 耳朵、鼻子、嘴和手的轮廓，拼出幅关于艺术家个性的肖像。五幅画分别就像一部电影的五帧画 ，从还能看到她左手捏着一根烟的远景镜头递进到了头部特写。如果把黑色的背景、黑色的头发与T恤对应她个性中的暗部，那阳光般的橙色皮衣   、明亮的双手和脸部皮肤就是在表现她个性的亮部。看似羞涩的胡子，走在影子的深处，
直直的黑发是她藏身的帘幕， 任随 意可开可合;透过这独属于她的窗子，观察着。

这些自画像等待着后世的艺术家来“修正”，一如她修正了十六十七世纪的这些历史肖像。她在2018 的展览画册《Stone Flesh》中
写道:“肖像，你赋予他们生命，他们有各种的命运。”

Hu Zi hides her own eyes behind her hair.
This concealment is nonetheless revealing. The viewer is left to
put together the puzzle of her personality through the minimalistic
lines of her profiled ear, nose, mouth and hand. The works in the
triptych are like film frames that zoom out from a close-up to full
body shot in which we see her hand holding a marijuana joint.
The blackness of the background, hair and shirt reinforce the dark
side, while the sun-orange leather coat, her hands and facial
features offer a glimpse of the lighter side of her personality.
Seemingly shy, Hu Zi sits back in the shadows and hides behind
the curtain of her straight black hair, which she can open and
close at will, observing through her private window.

Hu Zi leaves plenty in her self-portrait for future artists to
“correct”, as well as in her rectified portraits of historical icons
from the 16th and 17th centuries. “You pour lives into the portraits,
and they will live their own,” she wrote for her 2018 exhibition
catalogue, Stone Flesh.

胡子侧着头，她的头发遮住了她的眼睛。不 过，这种隐藏同时也是种显现。观者透过她的 耳朵、鼻子、嘴和手的轮廓，拼出幅关于艺术家个性的肖像。五幅画分别就像一部电影的五帧画 ，从还能看到她左手捏着一根烟的远景镜头递进到了头部特写。如果把黑色的背景、黑色的头发与T恤对应她个性中的暗部，那阳光般的橙色皮衣   、明亮的双手和脸部皮肤就是在表现她个性的亮部。看似羞涩的胡子，走在影子的深处，
直直的黑发是她藏身的帘幕， 任随 意可开可合;透过这独属于她的窗子，观察着。

这些自画像等待着后世的艺术家来“修正”，一如她修正了十六十七世纪的这些历史肖像。她在2018 的展览画册《Stone Flesh》中
写道:“肖像，你赋予他们生命，他们有各种的命运。”