江雪曼是以前卫的姿态为自己贴标签的女权主义(feminism)青年画家,从视觉形象还原她个人生存的潜意识,我们可以把她的架上绘画“青蛙意象”系列追寻到她童年的生存体验那里,自然给予她的身体就如同她的身体在自然中无法割舍于绘画一样,两者均无装饰性,且生存得相当自然、相当地女性化。无疑,她是一位在边缘摇旗呐喊且不甘示弱的弱小女性身体绘画者。江雪曼就是要以女性身体绘画向美术界宣告:女性画家应该走出沉默,在21世纪全球化的无主义时代,女性画家有权在言说。近年来,江雪曼的“皇历-奖状系列”是以后现代高科技的复制与拼帖,从而达向反绘画观念的调侃、反讽与戏似,“皇历-奖状系列”是在21世纪全球化无主义时代的后波普艺术。 Jiang Xueman is a feminist young painter who labels himself in a avant-garde style, restoring her unconscious of personal existence from the visual image. We can trace her on-shelf painting “Frog Imagery” to her childhood The experience of existence is naturally given to her body just as her body can not be left untouched by painting in nature. Both are decorative and fairly natural and quite feminine. Undoubtedly, she is a weak female body painter who shouts at the verge of being outdone. Jiang Xueman is to declare to the art world with female body painting that female painters should step out of silence. In the age of globalization and non-oppression in the 21st century, female painters have the right to speak. In recent years, Jiang Xueman’s “Imperial calendar - Certificate Series” is the copy and spell of modern high-tech, so as to achieve the anti-painting concept of ridicule, irony and drama, "Imperial calendar - Certificate Series Post-pop art in the era of globalization and globalization in the 21st century.