"Puxi is on the Other Side" (浦西之外)
// BLURB //
At a certain height, the city stops feeling like a place and begins to behave like a pattern. Streets flatten into lines, traffic into pulses, and the human scale quietly dissolves. From above, the skyline of Shanghai stretches with a kind of composed ambition, its towers rising not as interruptions but as calculations, vertical answers to horizontal limits. Across the river, Puxi holds its ground, older, steadier, a reminder that height is only one way to measure presence. There is a peculiar sensation at the edge of great heights, that brief moment of vertigo when the body questions the mind. Balance becomes suddenly scientific: a negotiation between gravity, perception, and trust. The eye insists on depth; the body insists on caution. Somewhere between the two, equilibrium is found. Skyscrapers, in this sense, are not just structures but experiments. They test how far upward we can go while remaining grounded. Steel and glass rise with confidence, yet depend entirely on invisible forces, tension, compression, equilibrium, quietly holding them in place. To stand above it all is to feel both expanded and precise, as if perspective itself has been recalibrated. The higher we go, the more we are reminded: balance is not the absence of height, but the mastery of it.
At a certain height, the city stops feeling like a place and begins to behave like a pattern. Streets flatten into lines, traffic into pulses, and the human scale quietly dissolves. From above, the skyline of Shanghai stretches with a kind of composed ambition, its towers rising not as interruptions but as calculations, vertical answers to horizontal limits. Across the river, Puxi holds its ground, older, steadier, a reminder that height is only one way to measure presence. There is a peculiar sensation at the edge of great heights, that brief moment of vertigo when the body questions the mind. Balance becomes suddenly scientific: a negotiation between gravity, perception, and trust. The eye insists on depth; the body insists on caution. Somewhere between the two, equilibrium is found. Skyscrapers, in this sense, are not just structures but experiments. They test how far upward we can go while remaining grounded. Steel and glass rise with confidence, yet depend entirely on invisible forces, tension, compression, equilibrium, quietly holding them in place. To stand above it all is to feel both expanded and precise, as if perspective itself has been recalibrated. The higher we go, the more we are reminded: balance is not the absence of height, but the mastery of it.
EDITION, MEDIA, SIZE & WEIGHT
Edition of 8, Shanghai 2025
RGB LED display, Giclée print face-mounted on plexiglass, stainless steel frame
72.5(W)×192.5(H)×5.4(D) cm // 46 kg
CRATE SIZE & WEIGHT
86(W)×201(H)×21(D) cm // 89 kg
EXPOSURE
“The Fourth Wall” at island6 Shanghai
CREDITS
Yang Suer 杨素儿 (performance) • Yeung Sin Ching 杨倩菁 (production supervisor) • Thomas Charvériat (art direction) • Tiara Alvarado-Leon (blurb)
Edition of 8, Shanghai 2025
RGB LED display, Giclée print face-mounted on plexiglass, stainless steel frame
72.5(W)×192.5(H)×5.4(D) cm // 46 kg
CRATE SIZE & WEIGHT
86(W)×201(H)×21(D) cm // 89 kg
EXPOSURE
“The Fourth Wall” at island6 Shanghai
CREDITS
Yang Suer 杨素儿 (performance) • Yeung Sin Ching 杨倩菁 (production supervisor) • Thomas Charvériat (art direction) • Tiara Alvarado-Leon (blurb)
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