The reproduction and development of cells serve as both a prelude to death and an elegy for rebirth, evoking the endless cycle of growth and decay. Within the fluid container of the body, the entanglements of life never cease: those little knots in hair hover at the threshold between emergence and decline, soft yet taut, resting on skin-liked color sculptures. little knots in my hair is a metaphor for the unwelcome elements that grow so subtle they remain to unfelt, yet once noticed, they irritate the skin like quiet itches turned into relentless discomfort.

Chang’s solo exhibition, little knots in my hair, showcases her latest drawings, sculptures, and a new edition of the installation. It explores the dialogue between body and space, creating a seemingly malleable form in flux through soft hair, vibrant colors, dynamic patterns, and the delicate textures of paper clay sculptures. In the new installation, Warm Bed (2024), the eighteen sculptures are displayed not as a static symbol confined to a bed, but as an architectural space held aloft by chains. These suspended sculptures become fractured vessels of utopian dreams, cradling vivid remnants of the past. The intertwined chains embody both the promise of stability and the burden of constraint, tracing the shifting contours of time and space.
The exhibition space unfolds to show the process of collapse and renewal, where imperceptible forces, like those little knots in hair, gradually emerge, transform, and dissolve.