《無名之驅》脫胎於對莫言部分小說中空間規訓機制及鄉土女性形象的研究，它分成《無名》和《驅》兩個部分。
《無名》是一本非常規族譜。這本族譜顛覆了父系血緣主導的原始族譜模式，變成以性別與命運為紐帶突破宗法桎梏，將這些堅韌如母牛、母豹、母狗、母蛙——獸般的女人以「姓名+宿命」的形式記錄。製作者對女性傷痛的獵奇化書寫感到反感，起初只是想以批判的眼光居高臨下地作書評，後來又認為書中看似魔幻又荒誕的描述，在某個時期是曾經真實存在過的。
《軀》是尺寸1:1，以石膏繃帶為主材料製作的人體翻模，紅色棉線的縫合是暴力帶來的身體傷害；透明魚線的鏈接則是柔性規訓的思維同化；粗糙麻繩的捆綁是超脫鄉土語境、面臨女性群體的結構性壓迫。在這張有形與無形交織的規訓網中，她以開放的、僭越的姿態仰坐於莫言的文字上。這種帶有性暗示的坐姿，展現出「性自主」、「性置換」是她們在無垠黑土中難得探索出的身體反抗模式。這種反抗是極端的、局限的、自毀的、愚蠢的；也是進步的、勇敢的、不麻木的。
The Nameless Body is born out of a study of the spatial disciplinary mechanisms and images of vernacular women in some of Mo Yan's works, and it is divided into two parts: Nameless and Body.
The Nameless is an unconventional genealogy that subverts the primitive genealogical model dominated by patrilineal bloodline, and breaks through the patriarchal shackles by taking gender and destiny as the link, recording these tough women like female cows, female leopards, female dogs, female frogs - beast-like women in the form of 'name + destiny'. Personally, I am averse to the Voyeuristic Representation and Pornographic Gaze about women's pain and suffering. At first, I just wanted to review the book with a critical eye, but then I realised that the seemingly magical and absurd descriptions in the book had existed in real life at a certain period.
The Body is a 1:1 sized human body made of plaster bandages, the stitching of the red cotton thread is the physical injury brought about by violence; the link of the transparent fishing line is the assimilation of flexible discipline; the binding of the coarse twine is the structural oppression of the women's group that has transcended the rural space. In the net of visible and invisible discipline, she sits back on Mo Yan's words in an open and transgressive posture, undoubtedly with sexual innuendo. 'Sexual autonomy' and 'sexual substitution' are the rare modes of physical resistance that they have explored in the boundless black soil, a resistance that is extreme, limited, self-destructive, and stupid; but also progressive, brave, and anti-numbness.
