Catalina Ouyang is a sculptor, writer, and interdisciplinary artist whose practice spans themes of desire, subjugation, race, gender, resistance, healing, and intersectionality. Ouyang's practice is an act of searching, whether through myth, oral histories, or literature, consistently disrupting the ‘normativity’ of hetero-patriarchy, desire, and identification. Ouyang’s work is visually striking in her use of both organic and inorganic media that often relate directly to the body, from carved wood, to concrete, to bacteria and yeast.
Catalina Ouyang’s solo exhibitions include:White Male Ally at Lyles & King (New York, NY), cunt waifu at Lyles & King (New York, NY), it has always been the perfect instrument at Knockdown Center (Queens, NY); marrow at Make Room (Los Angeles, CA); fish mystery in the shift horizon at Rubber Factory (New York, NY); blood in D minor at Selena Gallery (Brooklyn, NY); and an elegy for Marco at the Millitzer Gallery (St. Louis, MO). Ouyang’s work has been included in group exhibitions at François Ghebaly Gallery (Los Angeles, CA), BRIC (Brooklyn, NY), Helena Anrather (New York, NY), fffriedrich (Frankfurt, Germany), like a little disaster (Polignano a Mare, Italy), Anonymous Gallery (Mexico City, Mexico), projects+gallery (St. Louis, Missouri), No Place (Columbus, Ohio), Field Projects (New York, NY), Gallery 400 (Chicago, IL), and others. Ouyang has attended residencies at Shandaken: Storm King (New Windsor, NY), the NARS Foundation (Brooklyn, NY), OBRAS (Evoramonte, Portugal), and the Atlantic Center for the Arts (New Smyrna Beach, FL), with residencies forthcoming at the Vermont Studio Center and MASS MoCA. Ouyang is a 2020-21 Studio Artist at Smack Mellon (Brooklyn, NY). Ouyang has received awards from the Foundation of Contemporary Arts, the Puffin Foundation, the Santo Foundation, Real Art Ways, and the Elizabeth Greenshields Foundation. Ouyang received an MFA from Yale University and is based in New York.
Born in Chicago, IL in 1993
Lives and works in Brooklyn, NY
Education
| 2019 |
MFA, Yale University, New Haven, CT |
Solo Exhibitions
| 2022 |
Night Gallery, Los Angeles, CA (forthcoming) |
|
No Place Gallery, ‘Three Betrayals’, Columbus, OH |
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| 2021 |
Lyles & King, ‘White Male Ally’, New York, NY |
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Real Art Ways, ‘THE SIREN’, Hartford, CT |
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| 2020 | Lyles & King, ‘cunt waifu’, New York, NY |
| Knockdown Center, ‘it has always been the perfect instrument’, Queens, NY | |
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Calle Edison 137, ‘Catalina Ouyang and Josh Dihle’, presented by Eric Ruschman, Mexico City, MX |
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| 2019 | Make Room, ‘marrow’, Los Angeles, CA |
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Rubber Factory, ‘fish mystery in the shift horizon’, New York, NY |
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| 2018 |
SCREEN_, ‘another document’, Online |
| Selena Gallery, ‘blood in D minor’, Brooklyn, NY | |
| Make Room, ‘DEATH DRIVE JOY RIDE’, Los Angeles, CA | |
| 2017 |
PLUG Projects, ‘Open Fracture (with Benjamin Rosenthal)’, Kansas City, MO |
| Trestle Projects, ‘sister, destroyer, lover’, Brooklyn, NY | |
| 2016 |
Millitzer Gallery, ‘an elegy for Marco’, St. Louis, MO |
| St. Louis Community College at Forest Park, ‘follies of the tuna’, St. Louis, MO | |
| 2015 | fort gondo compound for the arts, ‘Virgin Pacific’, St. Louis, MO |
Selected Group Exhibitions
| 2022 | Jeffrey Deitch, curated by Kathy Huang, ‘Wonder Women’, New York, NY (forthcoming) |
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Aldrich Contemporary Art Museum, ‘52 Artists: Revisiting a Feminist Milestone’, Ridgefield, CT (forthcoming) |
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| Galerie Marguo, 'The Hearing Trumpet,' organized by Danielle Shang, Paris, FR | |
| Lyles & King, ‘Mouthed Echos’, New York, NY | |
| 2021 |
Sculpture Center, ‘In Practice: You may go, but this will bring you back’, curated by Katherine Simone Reynolds, Queens, NY |
| HOUSING, ‘Weight’, New York, NY | |
| Night Gallery, ‘Delusionarium 5’, Los Angeles, CA | |
| EPOCH Gallery, ‘Wonderland’, Online | |
| ‘Sexy Sex’, presented by Bianca Boragi | |
| 2020 | Nicodim Gallery, ‘PAPA RAGAZZE!’, Los Angeles, CA |
| Moscow International Biennale for Young Art, ‘I Don’t Know Whether the Earth is Spinning or Not: VII’, curated by Francesca Altamura and Lizaveta Matveeva, online | |
| François Ghebaly Gallery, ‘Materia Medica’, curated by Kelly Akashi, Los Angeles, CA | |
| BRIC, ‘Death Becomes Her’, Brooklyn, NY | |
| Pfizer Building, ‘Beyond the Visible (with Jennifer Chia-ling Ho and Min Sun Jeon)’, curated by We narrate us, Brooklyn, NY |
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Catalina Ouyangfont VIII, 2021Found marble font (17th century, Italian), burned nightgown (2016, St. Louis), resin, binder rings, dried lotus root, raw egg, white vinegar
71.1 x 30.5 x 63.5 cm
28 x 12 x 25 in -
Catalina Ouyangreliquary corpus, 2021Wood, soapstone, hair, gray wolf skull, plaster, paper pulp, epoxy clay, color pigment, resin, beeswax, chiffon, polymer clay, light, book236.2 x 30.5 x 20.3 cm
93 x 12 x 8 in -
Catalina Ouyangreliquary corpus (lash of hope), 2021Wood, steel, brass, epoxy clay, copper, stone, polymer clay, paper pulp, oyster shells, kombucha mother, horse hair152.4 x 30.5 x 30.5 cm
60 x 12 x 12 in -
Catalina Ouyanga descent (Otherwise abandon it. Turn its face into the mud.) , 2020Lime plaster, steel, hand-carved wonderstone, peanuts, acrylic image transfers scanned and printed from The Descent of Alette (Alice Notley, 1996), thread, epoxy resin, stop loss trap, gypsum plaster, shellac, discarded steel furniture parts, drag net
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Catalina Ouyangdoubt I (the wreck and not the story of the wreck / at the floor of the flood / primordial lovers / groaning dreadfully / What have we done so wrong.), 2020Hand-carved alabaster, hydrocal, pigment, resin, carved maple, epoxy clay, found fabric, oyster shells, woven leather, drag net91.4 x 40.6 x 27.9 cm
36 x 16 x 11 in -
Catalina Ouyangfont V, 2020Soapstone, horse hair, glue, abandoned wood, gifted honeycomb, raw egg, white vinegar25.4 x 15.2 x 25.4 cm
10 x 6 x 10 in -
Catalina Ouyangtranslation (...under the, under the porch of the house? At the last moment... It... yelps. As if it’s seen something real.), 2020Abandoned chair seat, horse hair, glue, red polymer lead30.5 x 30.5 x 25.4 cm
12 x 12 x 10 in -
Catalina Ouyanguntitled partition, 2020Government-issue steel bunk bed (early 1980s), horse pelvis, paper pulp, gypsum plaster, pigment, epoxy resin, chiffon, extruded polystyrene, hydrocal, pigment, acrylic, cement
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Catalina Ouyangcrisis management (filling the space with syllables waiting for something to pass), 2019Soapstone, plaster, symbiotic colonies of bacteria and yeast, abandoned chair, steel rebar, weaver’s cloth147.3 x 41.9 x 40.6 cm
58 x 16 1/2 x 16 in -
Catalina Ouyangcrisis management (invocation of losses counted, suckers had), 2019Marble, plaster, symbiotic colonies of bacteria and yeast, abandoned chair, steel rebar, weaver’s cloth160 x 43.2 x 43.2 cm
63 x 17 x 17 in -
Catalina OuyangCANDY, 2018Plaster, gypsum, extruded polystyrene, acrylic, chain, vial,
brass, leather, e jiao53.3 x 15.2 x 27.9 cm
21 x 6 x 11 in -
Catalina OuyangMANDY, 2018Plaster, gypsum, extruded polystyrene, acrylic, chain, vial, brass, leather, e jiao22.9 x 27.9 x 24.1 cm
9 x 11 x 9 1/2 in -
Catalina OuyangUntitled, 2018Rollerskates, seashells, chia plants
