Margaret Liang


The Hemisphere Pt. I

My Grave

Pictures of Domesticity


Copyright MargaretLiang
@ All rights reserved.

Lost Time, 2021


Using the imaginary grave as a metalinguistic extension of the corporeal, I explore matters of memory, ontological presence and self-preservation. I construct still lifes and miniature landscapes with a collection of ephemeral objects: a dying plant, a frozen mouse, a shape-shifting mud; and cut fragments of the (relatively) eternal silver gelatin prints. Through these objects, I highlight the tension between integrity and corruption, consolidation and disintegration.    I photograph in a way that indulges the desires of an exposed nerve, filling it with iodine, burying it in wet soil, touching it with bones. I utilize photography’s liberation from the conditions of time and space, and allow myself to retrieve back into the comfort of a tangible and pictorial world, one that is cold and moist, and free of the urge to possess a purpose. The resulting images could be read as the materialization of an existential angst, but more so, a manifestation of curiosity towards our being.


Below the Monkey, 2021

Untitled, 2021

I Wish We Were Closer, 2021

Building My Grave, 2021


          My Grave -

          My grandmother used to dream about her grave:
          a grassland at the end of a narrow mountain pass in her hometown,
          where wild mushrooms grow, the same ones she liked to make soup with,
          and a stream that runs eternally.
          She was cremated, and never made it to that grassland.
          However, whenever I think of her, I always think of that mountain pass,
          the sound of trees and the mushrooms that blossomed after rain.

The Garden Which She Lays, 2022

Birth, 2021

Damaged Good, 2021

Landscape at the Mountain Pass, 2022

Ephemeral Object, 2021

This is Where We Procreate and Where We Die, 2022