Tanky

This garment, created through the deconstruction and reconstruction of old clothing, serves as an artistic exploration of the limits of free speech. Most of the visual elements were generated through AI models I trained and fine-tuned, reflecting both the possibilities and constraints of technology in creative expression. Before coming to the United States, I believed that freedom of expression here was absolute. However, my experiences during the COVID-19 pandemic challenged that assumption. I noticed that certain online opinions—whether expressing a positive view of China or questioning mainstream public health policies—were often met with hostility, algorithmic downranking, or even content removal. Social media platforms, while promoting openness, often enforce inconsistent rules. Some hate speech is swiftly deleted, yet racially charged or extreme content can persist on certain platforms. Additionally, political views are not always moderated equally; critiques of government policies may be suppressed more than pro-government narratives. These experiences have made me question what “freedom of speech” truly means in the digital era. In a world where algorithms shape discourse, corporate interests influence visibility, and information is selectively presented, are we truly free to express ourselves? Another layer of influence on this work comes from Cold War–era ideological polarization. Many who lived through communist regimes view capitalism as morally corrupt, while others raised in the West see communism as inherently evil. But is any system so black-and-white? This piece, caught between destruction and reconstruction, reflects the blurred lines between restriction and expression, and invites reflection on the evolving meaning of freedom.