Born a Sinner is a series of paintings that uses the recurring image of pink latex gloves to challenge traditional Chinese gender norms surrounding menstrual shame and female domesticity. By incorporating corrosive chloride bleach as both a material and a metaphor, the works physically depigment the canvas, weaponising the paintings to symbolize the stereotyped roles imposed on women. 

Depicting mundane bathroom objects, like faucets, sponges, and latex pink gloves, the series employs a shaky, over-exposed, flashlight effect to mimic a snapshot. This photographic quality captures seemingly random moments of domestic life, to transform the ordinary into a question, like the unsettling image of wearing gloves to wash hands creating an uncanny misalignment with common sense, prompting viewers to confront these social constructs.  

此系列繪畫以粉紅色乳膠手套為核心意象，創作主題圍繞月經羞恥與中國傳統女性家庭角色的性別規範。作品使用具有腐蝕性的家用漂白劑作為創作媒介及隱喻載體：漂白劑在畫布上的褪色過程被視為一種物理性侵蝕，並以此象徵女性於傳統家庭中的刻板角色。 

畫面聚焦日常衛浴物件：水龍頭、海綿及乳膠粉紅色手套。筆觸刻意營造晃動、過曝的閃光燈攝影效果，模擬抓拍女性於家中進行家務的偶然瞬間。這種攝影化的視覺轉化，將社會習以為常的日常場景重新編碼為挑戰性的提問。洗手這平常的行為在畫中卻被套上乳膠手套呈現，這詭異的違和感及錯位暗示了社會所謂的常理及性別壓迫。 

Kitchen uses the metaphor of latex gloves found in Leung’s home to depict the emotional cartography of her family dynamics. These seemingly mundane objects examine the power structures and bonds within the family, while the rubbery texture of the gloves hints at her familial relations and the invisible layers of separation passed across generations. By magnifying this domestic symbol, the work shows a private family space to dissect her family relationships, revealing unspoken tension and estrangement intertwined with love and intimacy. 

此作品以梁氏家居廚房中的乳膠手套作為隱喻，描繪其家庭的情感圖譜。這些看似平凡的日常物件，審視著家庭的脈絡與結構。而手套的橡膠質感，暗示著她的家庭紐帶及當中的無形隔閡。通過放大這日常物件，作品展現了一個家的私密空間，藉此剖析梁氏的家庭關係，揭示在愛與親密之中那些未曾言明的緊張與疏離。 

Belongings transforms Leung’s discarded drawings and Chinese calligraphy practices into a woven sheet of paper strips, as these materials carry personal memories and traces of her existence. By chopping them into pieces, Leung deconstructs and reveals the fragmented, blurry nature of her memories. The act of weaving them back together represents how these broken fragments are forming Leung’s present self, with her body serving as a vessel that contains them. The repetitive act of weaving mirrors the mechanical rhythm of daily life. Presented hanging on a clothes hanger with laundry clips, the work resembles a garment, suggesting that these fragmented memories are Leung’s belongings, much like clothing worn by a body, ultimately shaping her identity. 

梁氏把舊畫作與書法練習轉化為一幅編織的紙條，這些材料承載著她的個人記憶與存在痕跡，解構了她記憶破碎而模糊的本質。將碎片重新編織在一起的重構行為，象徵著這些斷裂的片段如何構成梁氏當下的自我，而她的身體則作為容器承載著這一切，重複的編織動作則如同她日常生活的機械節奏。作品以衣架和曬衣夾懸掛呈現，宛如一件衣物，暗示這些破碎的記憶如同身體所穿的衣裳，是屬於梁氏的「物」，最終塑造了她的身份。