With photography and document-based installations, After the Last Shadow exhibits the dark entanglements between feeling, gender, family, and violence, utilizing a portentous structure of hindsight to unveil the last silhouettes of victims in crimes of passion. The exhibition also includes images of scenes of the crimes and murder weapons, while unfolding the multiple (dangerous) layers of empathy: whether it is the voyeuristic remakes of images of victims from surveillance cameras, or personally killing the blind spots of public order like a perpetrator, the artist transforms image and its vehicle into the powerless weak, through which the artist and her collaborators/survivors face and become an abyss together, without fearing to be devoured by such an abyss. Here, we see and experience the listening and partially concealed presence of image, as well as its power of catharsis, as we re-think the sublimated meaning of regarding the pain of others.(Commentator/TSAI Pei-Kuei)

After the Last Shadow is composed of surveillance camera footage, safety alert spots, and the life stories of two individuals. The work engages in topics of violence, unequal power in gender relations, as well as how people move on after surviving the most abysmal violence. Through collaborating with survivors of domestic violence, the artist has discovered the recuperating and healing possibility that artistic practice can bring. The real significance in this project is perhaps the creation that goes beyond the work itself.

Sherry HUANG graduated from the Academy of Art University in San Francisco, USA in 2011, and the MA program in Photography at the Royal College of Art in 2018. She has exhibited in the UK, the US, France, Italy, Japan and Taiwan. Her solo exhibitions include Dead Letter (2013) and After the Last Shadow (2021). Her photo book, Love Remains, was published in 2016.