Despite the intimacy of the images, they often still feel ornamental, included to imply history and depth without providing any new information or emotional ground that Chang doesn’t already explicitly cover in her letters.Īnd in those letters, Chang’s dogged adherence to form is admirable, but the epistolary format often suffocates the work. There may be one clear point of connection between the image and the words - in that first collage, the phone that Chang notes is ringing is the phone hanging on the wall in the photograph - but these connections are either too literal or virtually nonexistent. In fact, the cut-and-paste photos and documents are, in most cases, awkwardly juxtaposed with the text. Along with family photos, Chang shares marriage certificates, translated letters from cousins, even floor plans, though not all of these images have the same resonance.
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