In “Study in Figures” (2017), the artist combines The 
Rape of the Sabine Women (1574-1582)
and Hercules and the Centaur Nessus (1599) by the
 Flemish sculptor Giambologna (1529-1608) in late Renaissance. The former depicted three intertwined figures—one man abducting the women and the beaten husband looking on in horror. The latter characterized Hercules under the taut skin beating the veined legs of the centaur Nessus, poised in battle, who attempted to force himself upon Deianeira, the wife of Heracles. The two complex groups of figures move upwards together in elongated proportions in the felt drawing, showing a range of emotions. The pain got in fights and combats is a pathway for an individual to encounter his/her complete self coined with clear boundaries.

在《形体习作》(2017年)中，艺术家揉捏了文艺复兴后期法兰德斯雕塑家詹波隆那(1529—1608年) 创作的《强掳萨宾妇女》(1574—1582年)与《赫剌克勒斯与半人马涅索斯》(1599年)。前者刻画了三个互相缠绕的身体——⼀个诱拐⼥⼈的男⼈与女⼈被打败的丈夫，充满恐惧地观看着一切。后者表现了⽪肤紧绷的赫剌克勒斯正在痛打意图劫掠其妻⼦得伊阿尼拉的半⼈马涅索斯，被迫参与对抗的涅索斯的腿已经⻘筋暴起。这两组复杂的身体在⽑毡绘画/素描中 一同按照瘦⻓的⽐例向上延展，流露出多种情感。搏击中的疼痛感是个人遭遇完整⾃我并为其建⽴清晰边界的途径。