I love chairs. I love weird and uncomfortable chairs despite my scoliosis was resulted from inappropriate sitting postures back in my teenagehood. I used to wear an orthodontic brace that is made out of polypropylene and high density foam. My experience with the brace was especially unpleasant not only because I had to wear it 20 hours a day (i.e. under both my pajamas and school uniforms), but also because I felt that part of my body was objectified and constrained by an extraneous force as I was going through middle adolescence stage. Every time I put on the corset, I instantly felt my lumber muscles being pushed against by the rigidness of crystalline plastic. But ever since then, I have been intrigued by the idea of confrontation with one force exerting outward and another force exerting inward.

The idea then evolves into sitters and chairs. While our exertion of force onto the seat does not really excite people’s attention—since it’s the chair’s job to hold our weights and offer us a reliable resting moment—Gravity Is A B*tch No.2 emphasizes the oppositional force acting back upon us. Through a subversion of roles between the applicator and the receiver, gravity helps visualize the idea of us being surrounded by a world of invisibility—a world of intangible constructs we are constantly encroaching on. 

Living in the year of 2021, I hope the chair offer you a, if not at all peaceful, spellbound experience amid the unrests of all kinds.

Similar to the concept of NFT, the pain and uneasiness each sitter feels differ due to their varying weights. The discomfort, thus, is not interchangeable or to be reproduced but a unique experience to each participant.


Special Thanks to Erin Cooney, Rebeca Mendez, Isaac Ruder, Casey Reas, Hanjun Wang, Yiwei Wu, Zehao Fu and Hangyi Yang