amsterdam

Evelyn Taocheng Wang, Winter, 2017, wood, stones, Agnès B. wool coat, wool hat, and dress. Installation view. Photo: Gert Jan van Rooij.

Evelyn Taocheng Wang

Galerie Fons Welters

Evelyn Taocheng Wang, Winter, 2017, wood, stones, Agnès B. wool coat, wool hat, and dress. Installation view. Photo: Gert Jan van Rooij.

The title of Evelyn Taocheng Wang’s second solo show at Galerie Fons Welters, “Four Season of Women Tragedy,” suggests a stability amid change as part of female identity. Pain is an inevitable part of the cycle, but it will pass. Entering the gallery, one immediately felt it was a space of intimacy. The soft pink–painted walls—inspired by the color of a room at the Gemäldegalerie in Berlin—were adorned with an array of drawn and painted works on paper alongside various garments and items such as shoes and handbags, all juxtaposed to form constellations soliciting a subtle kind of reading. Many of the objects looked frayed and vulnerable.

Wang, who was born in Chengdu, China, in 1981 and now lives in Rotterdam, has experienced both cultural and personal transformations, having transitioned from male to female. In part, this show tracked the artist’s process of writing a

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