my exhibition “forgive everything” opens tonight at @nightgallery 5-8 pm 🥹 spam reel cause my last spam reel was deleted 😇 The conceptual center of forgive everything is the three-body problem, which, in physics and mathematics, describes a chaotic system between particles. The chaos of the three-body problem lies in its indeterminacy; the motion of particles cannot be predicted. Here, Ouyang looks to the three-body problem and its components as a framework for the interrelation between self, mother, and grandmother. The unsolvable nature of the three-body problem echoes lapses in a family’s knowledge of one another as the artist takes up their own unsolvable project: to recover intergenerational histories through repetition, exhaustion, and gesture. forgive everything can be approached as a sequel to THREE BETRAYALS, a film made by the artist in 2021 and presented at No Place Gallery in 2022. In the preceding work, Ouyang considers “betrayal” not only as a violation of trust, but as a generative act that passes forth and thus preserves information. As an ensuant, “forgive everything” extends a kind of total generosity—or perdonare, the Latin intransitive to “give completely”—while signaling at once an accusation: “Why have you not done so?” To “forgive everything” is to acknowledge historical limitation and suffering, then introduce the possibility for expansion and sensual rupture. Lucretia’s Apostrophe, 2022 found drawers, cement, steel, horse femur, polyester fleece, walnut, light, found fabric, carved soapstone, carved maple, papier mache, beeswax, acrylic, copper 62 x 27 x 28 inches Courtesy the artist, @nightgallery and @makeroom.la 📷 @nikmassey