Paradise Holds Itself Shut, Charlotte Zhang’s first solo exhibition, presented the abject pleasures of Asiatic womanhood as produced through the sexual economies of war, immigration, and marriage. In photographs printed and handstitched in poly-satin collages, the Chinese Canadian artist sutures together military imagery, pornography, medical illustrations, and pop cultural perversions. Hung on wires, the prints resemble flags made of flayed skin: rosy assemblages of women, warplanes, politicians, amputations, soldiers, patients, and rapists, mug-shotted and captioned with the nature of their crime in shaky print. Arrayed for viewing displeasure are anonymous thighs and ass irradiated in red light, the squeaky white uniforms of K-pop stars and all-American nurses, a woman in hot-pink leopard print and handcuffs being taken away by a narcotics officer. A chained, possibly doped-up tiger dozes, superimposed on Chinese schoolgirls reading English vocabulary words from a blackboard. Phantasmic faces in ambiguous rapture or pain, overlaid upon each...

You do not currently have access to this content.