New generation artist Zhang Yuewei (Vivien Zhang) was featured in Forbes 30 under 30 Asia: The Arts in 2017. In November last year, she was one of the participants exhibiting in a group show "Mixing It Up: Paintings Today" held at the prestigious Hayward Gallery in London. Currently based in the United Kingdom, Zhang received her MA in Painting from the Royal College of Art (London) in 2014, after completing her undergraduate degree at the Slade School of Replica Handbags , UCL (London). Having lived in China, Thailand, and Kenya, Zhang's oeuvre presents diverse cultural influences and visual elements. In addition, the artist also visually explores her interest in society's addiction and dependence on technology nowadays, which the present work, Three Manicules II, strikes as an example.

Three Manicules II was exhibited in Zhang's solo show "Vivien Zhang: Uzumaki", held at House of Egorn in Berlin in 2018. The exhibition featured a series of paintings in which spiral shapes recur as dominant imageries. These spiral forms were inspired by the artist's fascination with the Solomonic columns in Rome when she was studying there. According to the artist, the columns are not.mes rely decorative but also act as traces and stamps of history. Its twisted form is also a metaphor for historical trajectories within which history itself can be twisted, thus creating misconceptions and illusions. In the present work, Zhang's spiral motif does not appear as imagery but is integrated into the background to create an illusory pixelated space. It represents the digital realm today in which people are constantly rendered passive recipients of fragmented sporadic information, resulting in misunderstandings and contradictions. The three pointing hands hovering in the pictorial space are derived from typographic marks commonly found in 14th-century manuscripts. Likened to computer mouse and pointer, these manicules seek to grasp a trace of certainty within a warped space but in vain, provoking the audience to reflect upon how information consumption has evolved throughout history.

新晉藝術家張月薇在而立前便於2017年登上亞洲福布斯三十位三十歲以下傑出人才榜單，聲名大噪之餘展出頻密，去年十一月更獲邀參展倫敦知名的海沃德美術館的「Mixing It Up: Paintings Today」群展，備受關注。現駐英國的她於2012年在斯萊德美術學院（倫敦大學學院）獲得本科學位，兩年後於英國皇家藝術學院碩士畢業。她曾居中國、泰國、肯亞等多個國家，因此在她的藝術作品裡常呈現多元的文化影響跟素材，同時也展現她對當今社會人們對科技的沉迷和依賴，《三個手指札記2》則為一例。

本作曾展於其2018年在柏林House of Egorn 畫廊舉辦的「張月薇個展：漩渦」，展覽中主要展示了一系列以螺旋狀圖像為主題的畫作。這些圖像靈感源自於藝術家在羅馬留學時，對當地的螺旋柱地標產生的濃厚興趣。螺旋柱既是裝飾，也是歷史的印證，其扭曲的形狀，亦隱喻了時代的變革，從而引伸的各種幻象。在《三個手指札記2》中，螺旋狀非以圖像展現，而是融入背景中，塑造出一個虛幻而像素化的空間，呈現出數字時代中人們無時無刻在被動地接受信息下令信息碎化，從而引致各種的偏誤與矛盾。畫中三隻懸浮的手取源於十四世紀的手抄本中常見的手指導讀圖像，它們像電腦滑鼠鼠標一樣，試圖在這迷離的空間裡抓住一絲確切的信息卻不果，刺激觀眾對古今中外人們對知識、資訊的體悟、吸收及認知演變的反思。