In her first solo exhibition in Scotland, Candice Lin brings together new and existing work to play with the University of Edinburgh’s former Natural History Museum as a site of corrupted encounters, transgressions and transformations. Queering human and animal relationships, Lin uses a vocabulary of crude, ambiguous and dreamlike imagery to expose the conceits surrounding the scientific categorisation and control of bodies, and its links to the construction of race, gender, animality and humanness.

In her first solo exhibition in Scotland, Candice Lin brings together new and existing work to play with the University of Edinburgh’s former Natural History Museum as a site of corrupted encounters, transgressions and transformations. Queering human and animal relationships, Lin uses a vocabulary of crude, ambiguous and dreamlike imagery to expose the conceits surrounding the scientific categorisation and control of bodies, and its links to the construction of race, gender, animality and humanness.

In her first solo exhibition in Scotland, Candice Lin brings together new and existing work to play with the University of Edinburgh’s former Natural History Museum as a site of corrupted encounters, transgressions and transformations. Queering human and animal relationships, Lin uses a vocabulary of crude, ambiguous and dreamlike imagery to expose the conceits surrounding the scientific categorisation and control of bodies, and its links to the construction of race, gender, animality and humanness.

In her first solo exhibition in Scotland, Candice Lin brings together new and existing work to play with the University of Edinburgh’s former Natural History Museum as a site of corrupted encounters, transgressions and transformations. Queering human and animal relationships, Lin uses a vocabulary of crude, ambiguous and dreamlike imagery to expose the conceits surrounding the scientific categorisation and control of bodies, and its links to the construction of race, gender, animality and humanness.

In her first solo exhibition in Scotland, Candice Lin brings together new and existing work to play with the University of Edinburgh’s former Natural History Museum as a site of corrupted encounters, transgressions and transformations. Queering human and animal relationships, Lin uses a vocabulary of crude, ambiguous and dreamlike imagery to expose the conceits surrounding the scientific categorisation and control of bodies, and its links to the construction of race, gender, animality and humanness.