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Composition
London, 2025

MDF board, Pinewood, Silver leaf

Dimensions:
L120 x W5 x H180 cm

Photographed by Max Zhu



This piece originates from a direct observation of the artist’s hometown during winter—where rows of high-rises vanish into grey fog, and the air carries unseen dust. The smog, produced by nearby steel plants burning coal, becomes both the atmosphere and the material source of the buildings themselves.

Inspired by traditional Japanese folding screens, the form is reinterpreted as a miniature skyline. The surface is covered with silver leaf, then sanded and oxidized to reveal a silvery-grey texture between frost and industry, echoing the surface of buildings blurred by smog.

The structure, made from laser-cut MDF, mimics the gridded façades of mass-produced residential blocks. These facades suggest occupied units, abandoned ones, and buildings never completed—symbols of home, or of architectural shells left behind.

The work compresses a city’s landscape into the scale of furniture. It stands as a slice of architecture, or a boundary between enclosure and exposure. It belongs to no floor plan, no developer. It simply remains—like memory, placed in space.



作文
London，2025
中密度纤维板、松木、银箔


规格 :
L120 x W5 x H180 cm

摄影 朱东泽



作品源自对家乡城市冬季景象的观察。高楼密集、灰雾弥漫，空气中充满不可见的尘粒。雾霾来自附近的炼钢厂，燃烧煤炭制造钢铁——这些钢材又被用于建造同样的高楼。城市的灰色，成为建筑的源头与代价。

屏风形式借鉴日式折叠结构，转译为一排“缩小的楼”。表面覆以银箔，经打磨与氧化，呈现出霜冻与工业感交织的灰银色，肌理粗粝，仿若雾霾中建筑的皮肤。

结构采用激光切割的MDF板，模拟城市中重复建造的住宅立面。密集窗格隐喻“住满的”“空置的”或“未完工的”空间单元，既是家的象征，也是一种失效的容器。

作品在家具尺度中压缩城市表面，既像建筑切片，也像一种介于封闭与开放之间的界面。它不提供居住功能，也不归属于任何开发计划，只是静静伫立，像一段被安放的记忆。