Catalina Ouyang, cunt waifu, Installation View at Lyles & King, 2020

Catalina Ouyang, untitled partition, 2020, government-issue steel bunk bed (early 1980s), horse pelvis, paper pulp, gypsum plaster, pigment, epoxy resin, chiffon, extruded polystyrene, hydrocal, pigment, acrylic, cement

Catalina Ouyang, untitled partition detail, 2020 (side view)

Catalina Ouyang, untitled partition detail, 2020 (detail)

Catalina Ouyang, “Lift me to the window to the picture image unleash the ropes tied to weights of stones first the ropes then its scraping on wood to break stillness as the bells fall peal follow the sound of ropes holding weight scraping on wood to break stillness bells fall a peal to sky.”, 2020, plywood construction at ½ scale of the Mulberry Street entrance to the Puck Building, framed archival inkjet prints, portrait of the artist as Theresa Hak Kyung Cha commissioned from Larese King, freelance photographer and security worker at 295 Lafayette Street, New York, Edition of 3 (#1/3)

Catalina Ouyang, “Lift me to the window to the picture image unleash the ropes tied to weights of stones first the ropes then its scraping on wood to break stillness as the bells fall peal follow the sound of ropes holding weight scraping on wood to break stillness bells fall a peal to sky.”, 2020 (detail)

Catalina Ouyang, a descent (Otherwise abandon it. Turn its face into the mud.), 2020, lime plaster, steel, hand-carved wonderstone, peanuts, acrylic image transfers scanned and printed from The Descent of Alette (Alice Notley, 1996), thread, epoxy resin, stop loss trap, gypsum plaster, shellac, discarded steel furniture parts, drag net

Catalina Ouyang, a descent (Otherwise abandon it. Turn its face into the mud.), 2020 (side view)

Catalina Ouyang, a descent (Otherwise abandon it. Turn its face into the mud.) 2020 (alternate view)

Catalina Ouyang, a descent (Otherwise abandon it. Turn its face into the mud.) 2020 (detail)

Catalina Ouyang, a descent (Otherwise abandon it. Turn its face into the mud.) detail, 2020, lime plaster, steel, hand-carved wonderstone, peanuts, acrylic image transfers scanned and printed from The Descent of Alette (Alice Notley, 1996), thread, epoxy resin, stop loss trap, gypsum plaster, shellac, discarded steel furniture parts, drag net

Catalina Ouyang, generosity of the dead (were the true events presented as fiction, this fiction would be contrived), 2020, found photograph of the garden path at No. 1 Safdarjung Road printed on adhesive vinyl, dye-infused aluminum, scans from Ramaseeana; or, A vocabulary of the peculiar language used by the thugs, with an introduction and appendix, descriptive of the system pursued by that fraternity and of the measures which have been adopted by the supreme government of India for its suppression. (W.H. Sleeman, 1836), scan from Puck Magazine (1900), scans from National Archives and Records Administration (NARA) San Bruno, California (1909), calligraphy paper, stainless steel hardware, resin; installed in corners, thresholds, and interstitial spaces, Edition of 5 (#1/5)

Catalina Ouyang, generosity of the dead (were the true events presented as fiction, this fiction would be contrived), 2020 (alternate view)

Catalina Ouyang, doubt II (the thing itself and not the myth / what blood relation / turning horror into power / the sea that we carried for you / Do you not love us?), 2020, hand-carved alabaster, M1905 bayonet, lime plaster, gypsum plaster, horse hair, faux fur, pigment, epoxy resin, beeswax, burned rug, gauze, sewing pins, rat bones, 25 x 11 x 14 1/2 inches, 63.5 x 27.9 x 36.8 cm

Catalina Ouyang, doubt II (the thing itself and not the myth / what blood relation / turning horror into power / the sea that we carried for you / Do you not love us?), 2020 (alternate view)

Catalina Ouyang, doubt I (the wreck and not the story of the wreck / at the floor of the flood / primordial lovers / groaning dreadfully / What have we done so wrong.), 2020, hand-carved alabaster, hydrocal, pigment, resin, carved maple, epoxy clay, found fabric, oyster shells, woven leather, drag net, 36 x 16 x 11 inches, 91.4 x 40.6 x 27.9 cm

Catalina Ouyang, doubt I (the wreck and not the story of the wreck / at the floor of the flood / primordial lovers / groaning dreadfully / What have we done so wrong.), 2020 (alternate view)

Catalina Ouyang, it bears the traces if not the stigmata of its ancestry (Oriental Jane Doe), 2020, horse tibia, lime plaster, gypsum plaster, fabric, pigment, shellac, beeswax, resin, wood, ammonite fossil, 30 x 16 x 11 inches, 76.2 x 40.6 x 27.9 cm

Catalina Ouyang, it bears the traces if not the stigmata of its ancestry (Oriental Jane Doe), 2020 (alternate view)

Catalina Ouyang, otherwise, spite: 1. whores at the end of the world / 2. from every drop of his blood another demon arose (1829-1840), 2020, various materials

Catalina Ouyang, otherwise, spite: 1. whores at the end of the world / 2. from every drop of his blood another demon arose (1829-1840), 2020 (detail)

Catalina Ouyang, otherwise, spite: 1. whores at the end of the world / 2. from every drop of his blood another demon arose (1829-1840), 2020

Catalina Ouyang, otherwise, spite: 1. whores at the end of the world / 2. from every drop of his blood another demon arose (1829-1840), 2020 (alternate view)

Catalina Ouyang, otherwise, spite: 1. whores at the end of the world / 2. from every drop of his blood another demon arose (1829-1840), 2020 (detail)