Chiang's series of wall works (all titled WITHOUT BREAK ALL POWER) combine salvaged steel and conduit with cast aluminum poppy pods, and convex and concave spoons. Corresponding to street-signs, security mirrors and signage, these works pivot, reflecting an inverted world in the convex faces of spoons. The works infer both the persistent anxiety of drug culture in the American suburb of Chiang’s youth, and the enduring stigma and stereotypes in Sino-American culture around opioid use.

In Chiang's words, "The assemblages of salvaged steel and conduit are inspired by street signs, security mirrors and transience. Parts are attached to a pivoting axis with magnets, allowing reposition. Cut and bent spoons, shown in reverse, reproduce the simple optical trick of reflecting a convex and inverted world in tandem. A single poppy pod, cast in aluminum, extends from each frame.
Opium is heavily stigmatized in my parent's culture and yet they remain unaware of the pervasiveness in the American suburb they settled in. The combination of objects and materials subliminally suggest, or perhaps seduce by, lurking dangers and deep-seated anxiety."

Chiang (b. 1989, San Francisco) received an MFA from Rutgers University and a BFA from Maryland Institute College of Art. Recent solo exhibitions include Wasted, Laurel Gitlen, New York; Fiend, hatred2, Brooklyn; and spleen and ideal, Prairie, Chicago. Chiang lives and works in New York.

Chiang's work is presented in collaboration with her representing gallery, Laurel Gitlen, NY.