In my installation series Chicken Factory, I explore the hybridization of the human form and a chicken to reflect the societal lifecycle of a hen, serving as a commentary on gender and consumer culture. The central icon—a hollow, headless, and limbless female torso—recalls the Venus de Milo, a classical Greek sculpture often associated with idealized beauty yet stripped of her arms, a reminder of objectification and loss. This figure embodies both absence and dispossession, much like women in societies that reduce them to functional roles. In China, “鸡” (hen) is a derogatory term for a prostitute, used to demean women, while in the U.S., hens are sold headless, emblematic of faceless commodities. By mirroring the lifecycle of farm-raised hens, which give their entire existence to producing eggs before ultimately being consumed, Chick critiques society’s reduction of women’s worth to their utility, stripping them of individual identity.