Painted with acrylic paint on silk, Chang’s works invite the touch, the sin of the temptation to manipulate the paintings, to place them against the light at various angles, to see their verses and to analyze the meticulous ingenuity of the fitting of the woods that compose the cassis on which the artist lays the veil. Chang promotes a curiosity about the painting platform itself, questioning the technical possibilities and seeing how far one can go.

It is known that a ‘haiku’ is textual structure constructed from two synthetic parts. Although they appear to inhabit different worlds at first glance, these two parts are connected by a cut, the ‘kiru’. This cut, paradoxically, connects these two universes and proposes a beautiful union between two images that were until then irreconcilable. 

This is how the artist integrates the power of her paintings with the vulnerability of her titles, from which her works cannot be dissociated.

By painting a blazing cloudy sky with clouds like islands, as seen through an airplane window, the artist baptizes one of her paintings as Você é a menina que sempre foi [“You are the girl you always were”]. On a placid beach, with clear skies and the horizon line formed by a mountain range, topped by a distant and lonely moon, we are accompanied by the title Receio ser arrastado longe demais [”Fear of being dragged too far”]. The integration between the subtlety of the delicate painting on silk and the assertiveness of the titles is breathtaking.