​Inspired by Robert Bresson’s film with the same title, MAN Mei To explores in “Pickpocket” the theme of loss and gain. The sculpture replicates the arms of a pocket-picker, in which they have been merged and sprouted from the same base. Its form depicts the hand movement during the act of stealing – the action of pulling out and inserting the hand with the stolen goods back into the pocket. Her other set of works “Crime Scene – Leg” and “Who is Murderer” were both inspired by Alfred Hitchcock’s film “Frenzy”. “Crime Scene – Leg” is a sculptural piece that captures the film’s surreal scene of a human leg suddenly appearing at the food market, which immediately transforms the scene of ordinary life into a crime scene. “Who is Murderer” is a series of five photography works of body parts drifting along tranquil waves, evoking a sense of liberation.  Additionally, MAN has been incorporating elements of amputated stumps and pathological illness in her works since the 2018 group exhibition “Zoo as Metaphor 2” at The Hong Kong Museum of Medical Sciences. She employs sensual bodily experience in films and photographic imagery, a medium often perceived as flat and two-dimensional. 

​

​

​​​​

文美桃的雕塑作品《扒手》顧名思義，啟發自布烈遜的《扒手》，底座承托著一雙兩頭生長的手臂，複製扒手的手腕尋索間與得手後的對比，在得失之間覓取平衡。《案發現場—腳》與《誰是殺手》皆來自希治閣的電影《奪命狂兇》，前者為雕塑作品，捕捉電影中菜市場無由來蹦出一隻腳的一幕，讓日常的場景突然變成詭異的案發現場，後者為一組五件的攝影作品，平靜的海面出現肢體載浮載沉，既孤絕又自由。電影與攝影皆為平面，但文美桃卻時常以身體感官推進創作思路，身體殘肢或病變畸異的元素也是過往在醫學博物館《像是動物園(二)》展覽的延伸。
 

​

​​

​​