The 2nd National Female Painter Printmaking Works Invitation Exhibition, titled 'Ruge Xingban', has arrived as scheduled. The curator, Mr. Zhu Jianhui, clearly has a more long-term thinking and deeper purpose for this exhibition. Every goodbye is another rebirth of this exhibition specially designed to express women's art. The exhibition showcases the beauty of Yaoliu and Hua Guan, and who is the painter Ye Rong? For themselves, because when they express themselves, they are also updating themselves, justifying themselves, and elevating themselves. The existence of self-awareness gives painters a demand for expression

If we look at the works of female painters from the perspective of the type and personality of printmaking, what we should most recognize is their affirmation of the value of traces and symbols. With women's sensitivity, we can feel the emotions of traces, and with women's delicacy, we can speculate on the intentions of symbols. Viewers will reflect on the relationship between traces and symbols in the printmaking works of twenty-five female painters. Their paintings reflect the rules of the composition of traces and symbols. If traces are the objective world, symbols are the subjective world. Traces are used by religion, become miracles, law firms, evidence, hunters, as traces. On the stage, they are hand eye body movements, in the music pool, they are the organization of various sounds, on clothes, stains, wild plant growth is disorderly and disorderly, and letting hair hang freely is a spontaneous display. Both lack of emotion and display are challenges to symbols, attempting to subvert existing cognition. In the context of art, meaningful symbols become meaningless, and meaningless symbols become meaningful again. Both female and male artists pursue artistic creativity and do not change the essence of this artistic expression due to gender. Creativity is reflected in the difference between being and not being, and the difference between b