The flower that knew dawn first

stainless steel, 12000x6000x4000mm, 2025

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This installation, centers on the core proposition of “the bidirectionally of seeing in public space.” Taking the waterside setting as its narrative carrier and mirrored stainless steel as its medium, it couples geometric structures with hibiscus patterns to translate the identities of “the gazer” and “the gazed-upon.”

Within the site-specific framework of the waterside space, three dimensions of the installation mutually construct one another:

  • In the medium dimension: The materiality of mirror and metal materializes the act of “seeing.” The three portal-like structures, like an embrace opened by the earth to the sky, soften the harshness of architecture through the hibiscus’s grace.
  • In the symbolic dimension: The floral patterns translate natural imagery into public discourse, embodying “hope” and “the future” in tangible form.
  • In the perceptual dimension: The viewer’s movement and the rippling water create dynamic perceptions of the hibiscus flowers between the virtual (reflection) and the real (physical form). Every viewer passing through becomes a witness to new beginnings and the future, as well as a fellow traveler moving forward with the city.

Ultimately, the identity of “the gazer” circulates between the installation, the site, and the viewer, constructing a symbiotic perceptual system of “subject-object-site” in public space.

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