Madame Chao,

"Her body of work is extremely dense- lushly saturated- richer than one's ability to actually experience what's happening"

T. Terbolizard, 2002, 'Better Propaganda, Madame Chao Interview'. http://betterpropaganda.com/content.aspx?id=5. Accessed 16 June, 2013.

"The artist’s insistent imagery, created by complex computer software and programming, offers a hip-hop version of reality. She achieves this by sampling seemingly random fragments of video games, noise blasts and pulsating techno beats, mixing them with scenes from cult-classic Asian flicks and odd outtakes of contemporary America, including scenes from TV commercials. The resultant images seem to melt from one to another, forming an intense, chaotic melee that suggests the whirling frames of a kaleidoscope yet somehow manages to remain both cohesive and compelling."

Catherine D. Anspon, 2004, 'Art Lies, a Contemporary Art Journal', Issue 44. http://www.artlies.org/article.php?id=16&issue=44&s=1

"The mysterious Madame Chao’s high impact, speed metal video art presents an even more complex use of computer programs, databases, video games, noise, hardcore techno, the internet, and pop culture. Each work of art is a radical creation based on the vast flow of information that the artist samples from an almost infinite source of imagery and sound, real or invented, from which she composes non-sequential narratives that define our media culture. Chao’s intensity is reminiscent of the drip paintings of Jackson Pollock and the experimental films of Stan Brakhage. The very velocity and timing of her imagery induces contradictory feelings of excitement and tranquility."

Station Museum of Contemporary Art. Houston, Texas. 29 May, 2004. 'Digital Impact: Video (r)Evolution'. http://stationmuseum.com/index.php/exhibitions/96-digital-impact-video-r-evolution. Accessed 16 June, 2013.