“…Chiang’s work certainly has that character, but to call it ironic would seem a too-easy relief of the work’s animating tensions. For example, the myth of Narcissus bears no uncertain irony, yet Chiang’s series of mirrors, Untitled (2003-2005), whose grounds she etched so as to leave only the familiar bands of “iloveyouiloveyou…”, challenge such an easy correlation. To see ourselves in these mirrors requires that we look past the message inscribed on their surfaces, but then our only reward is a fragmented face…” (excerpt from “Between Embroidery and Suture. Julia Chiang’s stitches in time by Jonathan T. D. Neil, Modern Painters). Kantor/Feuer window, New York, February 22, 2007.
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