/* 新增鍵盤左右鍵切換作品的功能 */
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Indestructible Object
false
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2013-2014
LED lightbox, digital print, aluminum

89 cm × 131 cm
Mechanical structure: metronome, Peking Man skull (replica), brass, wood, stainless steel

14 cm × 25 cm × 163 cm
Indestructible Object consists of a glowing sentence and a staring skull, two elements that appear as unseeing witnesses—each pointing toward different angles of history, yet tightly sutured within a closed regime of viewing.



On the illuminated surface, the ocean serves as a backdrop while the sentence floats above the horizon: when viewed through red–blue 3D glasses, the text splits and eventually transforms into another phrase—“WE ARE STILL IN CHAIN.” This linguistic reconstruction is not a mere optical gimmick, but a reflection on how subjectivity is constrained and named within a structure. Meaning becomes unstable, continuously dissolving and reassembling through perceptual drift and vibration. Here, language functions not as a medium for expression, but as a device to regulate vision—controlling what we see, and what we miss.



The work directly appropriates the title of Man Ray’s 1923 readymade, while transforming the surrealist interest in desire and gaze into a grammar of historical and political assemblage. The artist does not merely echo the form but reconfigures its original intimacy into a disjunctive syntax: symbols are quoted, dismantled, and reassembled, leaving behind irreconcilable gaps between sign and meaning.



The metronome’s relentless ticking serves as a metabolism of time, a ritual forever on the verge of restart. But the object being stared at is no longer an eye—it is the hollow socket of a skull: a prehistorical vacancy, a residue of extinction. On the pendulum, the surrealist eye has been replaced with George Washington’s eye from a banknote—that omnipresent gaze of monetary power, now projecting a specter of history, capital, and surveillance.



The skull wears a pair of glasses that obscure its gaze direction. It seems to watch both the screen and the viewer—but not “you,” rather “your position”—an abstract coordinate that cannot be exited. It simulates a condition of “seeing how one is seen”—not what is seen, but how images stage our own viewing.
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