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We are pleased to present a solo booth with the New York-based collective, CFGNY featuring a series of porcelain sculptures, two architectural cardboard works, and a photograph.

Their use of porcelain toys with Europe’s vision of finery that was bootlegged from Chinese craft, revealing the fault lines in the material’s fragile history. Made by casting discarded consumer objects like garments and knickknacks from the dollar store, the casts reimagine the formal language of historic vessels’ rarified forms. Cardboard is a material that taps into a globally recognized language of affordability, import, and export. The architectural models borrow from vernacular forms from the American colonial era and are adorned with hand-drawn composites of British Romantic paintings serving as wallpaper. New iterations of both series will reference local frameworks, leaning on site-specific research that is characteristic of CFGNY’s practice. Another facet of the collective’s expansive material practice sees stuffed animals used as proxies for minoritized subjects and alternative forms of kinship. Their photograph depicts a group of plushies taken at a 100-year-old family portrait studio that witnessed three generations of social, legal, and geographic instability while documenting the local community.

By using porcelain, cardboard, and portraiture, the presentation reveals the network of a globalized world that has a complicated, contradictory, and often occluding relationship to Asia as a place and an idea.

CFGNY presented a joint exhibition with Wataru Tominaga at the Hammer Museum, Los Angeles this summer and is due to exhibit in the Cooper Hewitt Design Triennial, New York later this year.