“…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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