Tala Madani’s Corner Paintings, a series of diptychs begun in 2018, often depict spotlights or projectors beaming their light onto the adjacent panel, creating screens of light against which events can unfold. The image of the projector in Madani’s series of diptychs becomes a symbol of social and cultural projections in society.

In Corner Projection (Dog), 2019, a projector casts light onto a canvas which reveals a dog barking at the light whilst being supported by two bald men, anonymous male figures recurrent in Madani’s work. The dog barks in an attempt to protect itself from the artificial projected light; bringing out its protective animal instinct against technological reality. The canine display of aggression contrasts with the position the two male figures adopt, kneeling behind the dog in an attempt to run away from the light. Despite the dog’s aggressive stance, however, its reaction is reduced to a helpless howl; revealing a limited scope for reaction against the media-generated projected light, never louder than a dog’s bark.

Projection has become a recurrent theme in Madani’s work as observed in her series of paintings Shit Moms, where the artist subverts traditional projections of motherhood.