One strand of the exhibition adopts the visual language of corporate biotech. Developed as a speculative design project, The Perfect Female centres on AnKang Bio™, a fictional company marketing body implants that promise to align women with socially sanctioned ideals. Through staged product photography, a constructed corporate platform, and an investigative video, Yang exposes how contemporary control often operates through the reassuring rhetoric of enhancement and self-improvement. What emerges is a carefully manufactured image of optimisation, delivered with the polished authority of commercial design.
Elsewhere in the gallery, Yang shifts the focus toward the female body as a lived and contested site. In the ceramic series Wrong Vessels, the familiar form of the vessel becomes a means of examining containment, exposure, and bodily control. Working through clay rather than digital simulation, Yang brings attention back to touch, weight, and physical presence. The works foreground questions of consent and ownership, positioning the vessel not simply as an object but as a structure through which cultural expectations placed on women become visible.
