Tala Madani’s satirical paintings offer a sharp critique of patriarchal society. Her images are derived from studies and sketchbooks, and her paintings are often transformed into stop-motion animations. Typefaces and identities often dissolve and combust ambiently into ether or reduce into puddles of golden liquid, the cool glow of a disco light or the filthy stains of excrement. Corner Projection (Panic) (2019) comprises two canvasses that occupy a corner space. They bear a photorealist depiction of a digital video projector and its dreamily projected image. The cone of projected video light seemingly falls to reveal a frozen film still or perhaps the graffitied after-image of a blank projection.