(b. 1993, Chicago) lives and works in New York. Ouyang's work spans sculpture, video, installation, performance, and mixed media, situated in a framework of revisionist storytelling that resists essentialist metrics for navigating social space. Rather than engaging language directly, they work with the visualization, rhythm, and texture of language, confronting its limitations and the power relations embedded in space and speech. Their sculptures often integrate carved stone, plaster, found objects, and organic materials, drawing on cross-cultural myths and carrying an intentional violence and sexuality that gestures toward trauma, grief, and transformation. Ouyang holds an MFA in Sculpture from Yale University. Solo exhibitions include Trick , Lyles & King, New York (2024); Afterimage , No Place Gallery, Columbus (2024); forgive everything , Night Gallery, Los Angeles (2022); White Male Ally , Lyles & King, New York (2021); it has always been the perfect instrument , Knockdown Center, Queens (2020); marrow , Make Room, Los Angeles (2019); fish mystery in the shift horizon , Rubber Factory, New York (2019); and DEATH DRIVE JOY RIDE , Make Room, Los Angeles (2018). Group exhibitions include 52 Artists: A Feminist Milestone at the Aldrich Contemporary Art Museum, Ridgefield (2022); In Practice: You may go, but this will bring you back at SculptureCenter, New York (2021); Death Becomes Her at BRIC, Brooklyn (2020); the Moscow International Biennale for Young Art (2020); and Asia Art Center, Taipei (2021). Ouyang was the 2021 Artist in Residence at MASS MoCA, with previous residencies including Smack Mellon, Shandaken: Storm King, the NARS Foundation, the Atlantic Center for the Arts, and the OBRAS Foundation. Their work has been covered in Artforum, Flash Art, Hyperallergic, Cultured, Office Magazine, and Artnet News.
![Catalina Ouyang, crisis management (P[erseus] came for the holes)](https://public-catalog.romulus.art/v1/media/works/wrk_a2feeb27f63cacd0de8eab4e92b8aaf7?revision=0&w=960&v=3){kind=small}
