Select Press
"Grace Wang’ photos are also striking, ranging from faraway, emotive, and candid portraits to strangely angled shots of remote landscapes. The subject in Mary (2020), slyly crouched in a body of water, looks directly into the audience’s eyes, suggesting the interconnectedness between the psychic and the physical as well as the possibility of full integration between human and habitat. Wang’s least content-rich photo, Daydreamers (2020), does not require human subjects to capture the emotionality of recollecting presence. Its humble and obscure presentation functions like an impressionist painting." (Memory Foam)
— Cayden Johnson, ArtToronto, 2021
“The Trip is infused with mysterious waters and acts of solidarity between women… Through the metaphor of the ocean, Wang creates a space for different elements to meet, but not without going through a process of meditative transformation.”
— Katalina Gutierrez, 2015
“A mother and daughter’s weekend sojourn to a seaside town is the seemingly simple, yet emotionally rich and poignant storyline of Grace Wang’s lovely 17-minute short film, “The Trip.”…. Wang’s third short film, evocatively uses silence, and the emotional negative space of words unspoken and unarticulated feelings to chart the passage of her two characters’ conflicts and eventual reconciliation…
The heavy burdens of the mother and daughters’ past, as well as the healing of their rift are skillfully embedded by Wang and her collaborators in the mesmerizing flow of images, capturing the unique visual qualities of its Tobermory setting.”
— Christopher Bourne, Meniscus Magazine, 2016
“I Remember,” our 15th anniversary short subject, has a special significance for me because it is by Grace Wang of Toronto, one of the very first few Far-Flung Correspondents… Its dreamy and haunting realism embodies the poetic feeling of many of her FCC piece”
— Roger Ebert, 2013
“Wang’s film was lyrical and very sad, shot with no budget, but beautifully conceived and realized… Wang’s film is short, but it has all of that meditative space in it… and it was an emotional and perfect opener.”
— Sheila O'Malley, rogerebert.com, 2013
“It was a haunting way to open the festival.”
— Kate Kulzick, soundonsight.org, 2013