艺术史的叙事空间，充满了转弯、颤动、荡漾，是一部向无数方向流动的文本，被哲学家和美学家赋名出“褶子”“折叠”“齐物”等等概念，这些概念又重新解释世界、赋予世界、赋予宇宙、赋予万物。艺术家们又在理论与作品中回环探索更深的基底。余晓通过对绘画创作的新观念 —“腹地”（Underbelly）的研究，在无数次透明颜料的堆叠过程中，再用编制、转移、解剖等方式，实现对内探索与对外边界打破。 The narrative space of the history of art is full of turns, vibrations and ripples. As a text flowing in innumerable directions, it has been given concepts such as “crease”, “fold” and “equality of things” by philosophers and aestheticians. These concepts are in turn used to re-interpret the world, the universe and myriad things. Moreover, artists, in their theories and works, explore the still deeper base in a tortuous way. Through her research on “Underbelly” as the new concept of her painting creation, Yu Xiao, in the countless processes of stacking transparent pigments, succeeded in making the inward exploration and boundary breakthrough by resorting to wayssuch as compilation, transference and anatomy. 对于传统绘画而言，所有表现的内容都可在单一平面直观可见，讲述“绘画性”的故事。余晓将画布“身体”化，通感心手，翻转画布，使得绘画超越物质性本身。她的绘画作品既带有中国传统线条的写意美感，由以完美控制的关系同其他线相连接，这些叶脉关系形成于一个“光滑的”无边际的平面之上，通过“折叠”的形式，构筑起行为与绘画的联系。例如在三联作品《四十乘三十的30度·四十乘四十的0度·二十五乘四十的60度》中，艺术家通过折线将三张画连接起来，一脉相承，绵延着作品的生命力。 As far as traditional painting is concerned, all the expressed contents can be intuitively visible on a single plane, which serves as a means of narrating the story of “painting”. By using the canvas like her body, she is adept in flipping it, making the painting transcend the materiality per se. Her painting works are not only imbued with the enjoyable sense of beauty of traditional Chinese lines but also connected with other lines through a perfectly controlled relation. The relation of these leaf veins is formed on a “smooth” boundless plane. In the manner of “folding”, the connection between behavior and painting is constructed. For example, in the triad work “Forty By Thirty And 30 Degree, Forty By Forty And 0 Degree, Twenty-Five By Forty And 60”, the artist, through broken lines, connects the three paintings, which are of the same aura and continue the vitality of the work. 形式以上，是艺术家对华人、女性、移民等身份关照的讨论。中国当代国际艺术家不可避免地在与西方语境碰撞中产生困惑与纠结。装置《镜像》对自我意识行为进行现场还原，仿佛将人的潜意识挪移到真实空间，隐藏的、未见的、被忽视的刹那感受被一一展现。不管媒介如何，最为真诚地是，艺术家将最柔软的“腹地”向观众展开，邀请大家共同沐浴从画洞留白处闪出的光，在介于思辨性与绘画性之间的暧昧空间中，遇见当代、抽象、媒介等等避无可避的问题。最终，在“剖白”与“探求”的目光的交错下，各方对于艺术史的讨论得以走向更深处。 Above the form is the discussion of the artist on the identities such as the Chinese, females and immigrants. Contemporary Chinese international artists are inevitably filled with perplexity and vacillation in the collision with the western context. The device “Mirror” restored the scene of the behavior of self-awareness, as if transferring man’s sub-consciousness to the real space, thus displaying the transient feelings that are hidden, unseen and ignored. Regardless of what media become, the most sincere thing is that the artist unfolds the softest “underbelly” before the audience and invites them to be bathed in the light from the blank space of the painting cave. In the ambiguous space between speculation and painting, unavoidable questions such as contemporaneity, abstraction and media are encountered. In the end, under the alternation of the visions of “self-explanation” and “exploration”, all parties succeeded in furthering the discussion on the history of art.