"Bricks Marked For Demolition" (已被决定的去处)
// BLURB //
Before we learn what a color is, we learn to trust its name. Blue. Cyan. Red. Pink. Small words, seemingly innocent, until the eye discovers that language and color do not always agree. The word tells us what we should see; the color quietly suggests otherwise. Somewhere between the two, perception begins to wobble. Perhaps this is what makes color so strange. We experience it as certainty, yet our understanding is constructed from memory, language, culture, and association. A word can name a color without ever being the color itself. It is only a brick in the architecture of meaning; useful, familiar, and easily mistaken for the building itself. To question that architecture is a kind of demolition. One brick comes loose, then another: the word from the thing, the name from the experience, the assumption from the truth. What remains is not emptiness, but possibility. Imagine trying to explain blue to someone who has never seen it. You might describe the coolness of water, the vastness of sky, the feeling of distance. But none of these things are blue. They are only bridges toward an experience language cannot quite contain. Perhaps seeing is never simply seeing. It is interpretation; a negotiation between what is given and what we believe we know. And sometimes, understanding begins when we are willing to demolish the wall between the two.
Before we learn what a color is, we learn to trust its name. Blue. Cyan. Red. Pink. Small words, seemingly innocent, until the eye discovers that language and color do not always agree. The word tells us what we should see; the color quietly suggests otherwise. Somewhere between the two, perception begins to wobble. Perhaps this is what makes color so strange. We experience it as certainty, yet our understanding is constructed from memory, language, culture, and association. A word can name a color without ever being the color itself. It is only a brick in the architecture of meaning; useful, familiar, and easily mistaken for the building itself. To question that architecture is a kind of demolition. One brick comes loose, then another: the word from the thing, the name from the experience, the assumption from the truth. What remains is not emptiness, but possibility. Imagine trying to explain blue to someone who has never seen it. You might describe the coolness of water, the vastness of sky, the feeling of distance. But none of these things are blue. They are only bridges toward an experience language cannot quite contain. Perhaps seeing is never simply seeing. It is interpretation; a negotiation between what is given and what we believe we know. And sometimes, understanding begins when we are willing to demolish the wall between the two.
EDITION, MEDIA, SIZE & WEIGHT
One-of-a-kind work, issued as a unique edition. A preliminary prototype may exist within the collective’s archive and may serve as a museum proof for future exhibition or provenance traceability.
Shanghai 2026
RGB LED display, Giclée print face-mounted on plexiglass, stainless steel frame
206(W)×72.5(H)×5.4(D) cm // 56 kg
CRATE SIZE & WEIGHT
86(W)×201(H)×21(D) cm // 99 kg
EXPOSURE
“The Fourth Wall” at island6 Shanghai
CREDITS
Yang Suer 杨素儿 (performance) • Helen Chen 陈韵涵 (cinematography) • Yeung Sin Ching 杨倩菁 (production supervisor) • Thomas Charvériat (art direction) • Tiara Alvarado-Leon (blurb)
One-of-a-kind work, issued as a unique edition. A preliminary prototype may exist within the collective’s archive and may serve as a museum proof for future exhibition or provenance traceability.
Shanghai 2026
RGB LED display, Giclée print face-mounted on plexiglass, stainless steel frame
206(W)×72.5(H)×5.4(D) cm // 56 kg
CRATE SIZE & WEIGHT
86(W)×201(H)×21(D) cm // 99 kg
EXPOSURE
“The Fourth Wall” at island6 Shanghai
CREDITS
Yang Suer 杨素儿 (performance) • Helen Chen 陈韵涵 (cinematography) • Yeung Sin Ching 杨倩菁 (production supervisor) • Thomas Charvériat (art direction) • Tiara Alvarado-Leon (blurb)
CLOSE-UPS
VIDEO
