Catalina Ouyang, Recourse, 2021, fiberglass, steel, school bus emergency hatch, arrows, Dimensions variable

Catalina Ouyang, Recourse, 2021 (alternate view)

Catalina Ouyang, Recourse, 2021, (detail)

Catalina Ouyang, reliquary corpus (lash of hope), 2021, wood, steel, brass, epoxy clay, copper, stone, polymer clay, paper pulp, oyster shells, kombucha mother, horse hair, 93 1/4 x 12 1/2 x 8 inches, 236.9 x 31.8 x 20.3 cm

Catalina Ouyang, reliquary corpus (lash of hope), 2021, (detail)

Catalina Ouyang, Devotion, 2016-2021, school desk, various materials, deconstructed 风油精 box, graphite drawings on Bristol board (2016) of selfies the artist received from their ex-lover after being raped by him, maple frames, playing card, glassine, nylon net dimensions variable; each frame 14 11/16 x 11 ⅝ inches, figure 41 ¼ x 31 ⅞ x 20 ¼ inches

Catalina Ouyang, Devotion, 2016-2021 (alternate view)

Catalina Ouyang, Devotion, 2016-2021, (detail)

Catalina Ouyang, pronoun of love (EXCEPTING AS THE HURRICANE WILL TOUCH THAT TREE —), 2021, plaster, wood, epoxy clay, paper pulp, pigment, shellac, horse hair, beeswax, copper, resin, engraved plastic, text from Wide Sargasso Sea (Jean Rhys, 1966), 20 x 8 x 10 3/4 inches, 50.8 x 20.3 x 27.4 cm

Catalina Ouyang, pronoun of love (EXCEPTING AS THE HURRICANE WILL TOUCH THAT TREE —), 2021 (alternate view)

Catalina Ouyang, pronoun of love (EXCEPTING AS THE HURRICANE WILL TOUCH THAT TREE —) , 2021 (detail)

Catalina Ouyang, pronoun of love (THEN LIE SO STILL, AS THIS CLOUDY DAY), 2021, epoxy clay, polymer clay, paper pulp, pigment, beeswax, copper, resin, engraved plastic, text from Wide Sargasso Sea (Jean Rhys, 1966), 20 x 7 x 8 inches, 50.8 x 17.8 x 20.3 cm

Catalina Ouyang, pronoun of love (THEN LIE SO STILL, AS THIS CLOUDY DAY) , 2021 (alternate view)

Catalina Ouyang, pronoun of love (THEN LIE SO STILL, AS THIS CLOUDY DAY), 2021 (detail)

Catalina Ouyang, pronoun of love (IF I WAS BOUND FOR HELL LET IT BE HELL), 2021, puppy skull, epoxy clay, polymer clay, paper pulp, shellac, pigment, beeswax, copper, wooden mirror, engraved plastic, text from Wide Sargasso Sea (Jean Rhys, 1966), 21 x 6 x 7 1/2 inches, 53.3 x 15.2 x 19.1 cm

Catalina Ouyang, pronoun of love (IF I WAS BOUND FOR HELL LET IT BE HELL) , 2021 (alternate view)

Catalina Ouyang, pronoun of love (IF I WAS BOUND FOR HELL LET IT BE HELL), 2021 (detail)

Catalina Ouyang, pronoun of love (WHAT WILL I CARE FOR GODS OR DEVILS OR FOR FATE ITSELF.), 2021, puppy skull, epoxy clay, polymer clay, paper pulp, shellac, pigment, beeswax, horse hair, copper, wooden mirror, engraved plastic, text from Wide Sargasso Sea (Jean Rhys, 1966), 18 x 6 x 9 1/2 inches, 45.7 x 15.2 x 24.1 cm

Catalina Ouyang, pronoun of love (WHAT WILL I CARE FOR GODS OR DEVILS OR FOR FATE ITSELF.) , 2021 (alternate view)

Catalina Ouyang, pronoun of love (WHAT WILL I CARE FOR GODS OR DEVILS OR FOR FATE ITSELF.) , 2021 (detail)

Catalina Ouyang, pronoun of love (SNEER TO THE LAST, DEVIL) , 2021, puppy skull, plaster, acrylic paint, copper, wooden mirror, engraved plastic, text from Wide Sargasso Sea (Jean Rhys, 1966), 14 x 9 x 13 1/4 inches, 35.6 x 22.9 x 33.8 cm

Catalina Ouyang, pronoun of love (SNEER TO THE LAST, DEVIL) , 2021 (alternate view)

Catalina Ouyang, pronoun of love (SNEER TO THE LAST, DEVIL) , 2021 (detail)

Catalina Ouyang, pronoun of love (I HATED THE MOUNTAINS AND THE HILLS, THE RIVERS AND THE RAIN), 2021, puppy skull, plaster, epoxy clay, paper pulp, shellac, pigment, beeswax, horse hair, copper, wooden mirror, engraved plastic, text from Wide Sargasso Sea (Jean Rhys, 1966), 23 x 6 x 9 inches, 58.4 x 15.2 x 22.9 cm

Catalina Ouyang, pronoun of love (I HATED THE MOUNTAINS AND THE HILLS, THE RIVERS AND THE RAIN), 2021 (alternate view)

Catalina Ouyang, pronoun of love (I HATED THE MOUNTAINS AND THE HILLS, THE RIVERS AND THE RAIN), 2021 (detail)

Catalina Ouyang, pronoun of love (I SAW THE HATE GO OUT OF HER EYES), 2021 soapstone, paper pulp, copper, resin, engraved plastic, text from Wide Sargasso Sea (Jean Rhys, 1966), 18 x 6 1/2 x 10 inches, 45.7 x 16.5 x 25.4 cm

Catalina Ouyang, pronoun of love (I SAW THE HATE GO OUT OF HER EYES), 2021 (detail)

Catalina Ouyang, pronoun of love (SHE HAD LEFT ME THIRSTY AND ALL MY LIFE WOULD BE THIRST AND LONGING FOR WHAT I HAD LOST BEFORE I FOUND IT), 2021, soapstone, paper pulp, epoxy clay, copper, resin, engraved plastic, text from Wide Sargasso Sea (Jean Rhys, 1966), 14 x 6 x 12 1/2 inches, 35.6 x 15.2 x 31.8 cm

Catalina Ouyang, pronoun of love (SHE HAD LEFT ME THIRSTY AND ALL MY LIFE WOULD BE THIRST AND LONGING FOR WHAT I HAD LOST BEFORE I FOUND IT), 2021 (alternate view)

Catalina Ouyang, pronoun of love (SHE HAD LEFT ME THIRSTY AND ALL MY LIFE WOULD BE THIRST AND LONGING FOR WHAT I HAD LOST BEFORE I FOUND IT), 2021 (detail)

Catalina Ouyang, font VIII, 2021, found marble font (17th century, Italian), burned nightgown (2016, St. Louis), resin, binder rings, dried lotus root, raw egg, white vinegar

Catalina Ouyang, font VIII, 2021 (detail)

Catalina Ouyang, The Passion, 2021 steel, marble stolen from the Skull and Bones Society, horse radius, oil paint, The Passion According to G.H. (Clarice Lispector, 1988, University of Minnesota Press)

Catalina Ouyang, The Passion, 2021 (detail)

Catalina Ouyang, exorcism vessels (MY FIDELITY), 2021, framed graphite drawing, steel, polymer clay, epoxy clay, masking tape, wood, copper, polymer clay, aluminum, powder pigment, beeswax

Catalina Ouyang, exorcism vessels (MY FIDELITY), 2021 (detail)

Catalina Ouyang, let my wail heal, 2021, carved soapstone, thermal paper, notebook paper, ballpoint pen

Catalina Ouyang, White Male Ally, Installation View at Lyles and King, 2021

Catalina Ouyang, ego death, 2021 wood, ceramic tiles, dirt, video projector, text and footage from: Anne Carson, “The Truth About God”; Anne Dufourmantelle, In Praise of Risk; Lisa Robertson, Lisa Robertson’s Magenta Soul Whip; the artist’s chart reading with Anne C. Ortelee; Possession (Andrzej Zulawski, 1981); Women Without Men (Shirin Neshat, 2009); Stealing Beauty (Bernardo Bertolucci, 1996); Diabel (Andrzej Zulawksi, 1972); A Ma Soeur! (Catherine Breillat, 2001); Innocence (Lucile Hadžihalilović, 2004); Nymphomaniac (Lars von Trier, 2013)

Catalina Ouyang, ego death, 2021 (detail)

Catalina Ouyang, ego death, 2021 wood, ceramic tiles, dirt, video projector, text and footage from: Anne Carson, “The Truth About God”; Anne Dufourmantelle, In Praise of Risk; Lisa Robertson, Lisa Robertson’s Magenta Soul Whip; the artist’s chart reading with Anne C. Ortelee; Possession (Andrzej Zulawski, 1981); Women Without Men (Shirin Neshat, 2009); Stealing Beauty (Bernardo Bertolucci, 1996); Diabel (Andrzej Zulawksi, 1972); A Ma Soeur! (Catherine Breillat, 2001); Innocence (Lucile Hadžihalilović, 2004); Nymphomaniac (Lars von Trier, 2013)

Catalina Ouyang, ego death, 2021 (detail)

Catalina Ouyang, ego death, 2021 (alternate view)

Catalina Ouyang, White Male Ally, Installation View at Lyles and King, 2021

Catalina Ouyang, force of will (dog self), 2021, epoxy clay, wood, steel, paper pulp, beeswax, dog skull, horse hair, children’s fleece sweater, plaster, white ribbed tank top, stop loss trap, resin, dragonfruit husks

Catalina Ouyang, force of will (dog self), 2021 (alternate view)

Catalina Ouyang, force of will (dog self), 2021 (detail)