About
Peyton Chiang is a Taiwanese American artist working primarily in sculpture, performance, and installation. His work currently explores how ancestral knowledges are embedded in cultural, commercial, and political infrastructures. His work has been exhibited at the Moody Center for the Arts,
CAAC Gallery 456, Waley Art, L’appartment49c, Sleepy Cyborg Gallery, and The Eldorado Ballroom.
Education
Rutgers University Master of Fine Arts in Design
Rice University
Bachelor of Arts in Architectural Studies
Exhibitions/Residencies 2026· A Simultaneity Mark - MFA Design Thesis Show, Rutgers University, New Brunswick, NJ
2025
·
The Holding Pattern: Welcome Back Show, Rutgers University, New Brunswick, NJ
·
Are you still living in New York? Jersey City, NJ
· DTA Cross-Cultural Room Exchange, Waley Art, Taipei, Taiwan
· DTA Cross-Cultural Room Exchange, CAAC Gallery 456, New York, NY
·
What Should’ve Been, Rutgers University, New Brunswick, NJ
2024
·
Unfolding Roots, l’apparement 49c, New York, NY 2023
·
Project Row Houses Summer Studio Stages, Project Row Houses, Houston, TX
·
Everything But The Kitchen Sink, Rice University, Houston, TX
·
Mavis C. Pitman Exhibition: empty playgrounds, sacred soup, Moody Center
for the Arts, Houston TX
·
ones and zeros, Sleepy Cyborg Galleries, Houston, TX
2022
·
ones and zeros, Rice School of Architecture, Houston, TX
2021
·
12 Feet Apart, Rice University, Houston, TX
Full CV available by request
Not The Wasp
Not The Wasp
2025
143 Drawings
Screen Print, Acrylic Paint, and Ink Jet Print on Card Stock, Binder Rings, Metal Rods
‘The Wasp’ was a weekly political magazine based in San Francisco that ran from 1876 to 1941, featuring illustrations by George Frederick Keller. Keller’s abhorrent caricatures of Asian immigrants align with historically Western frameworks of classification and taxonomy. In recognizing a familiarity and kinship with these gross depictions, ‘Not The Wasp’ examines these Asian caricatures through the lens of contemporary Asian American inscrutability, from its first issue in 1876 to 1882, when the Chinese Exclusion Act was passed. The work utilizes the processes of surfacing and patterning defined in Vivian L. Huang’s Surface Relation to examine how flatness and withholding possess an oppositional capacity against neoliberal narratives of Asian assimilation and erasure.