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Screaming
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2024
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Water, Xuan Paper
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The Chinese script, developed from pictographs, is a system of symbols that convey meaning. One of the first characters we learn as children is “人” (person, human, man). Its form is simple—two strokes(“丿” and “㇏,” 一撇一捺）—yet our ancestors taught us that this character embodies deep complexity. They say that “人” is the hardest to write, reflecting the difficulty of truly understanding what it means to be human. In Chinese culture, there is a saying: “练字，练心，写字，做人, (Practice writing, cultivate the heart; compose characters, be a man). This view holds that calligraphy is not just an art, but a practice of self-cultivation. Writing, in this sense, goes beyond technique and posture, revealing one’s values, mindset, and even moral character. However, writing the character “人” does not mean one has learned to be human. We have written “人” countless times, attempting to become one, but what does it mean to be truly human?
“Screaming” draws on events from late 2022 in China, when citizens protested strict lockdown policies. In a tragic case in Urumqi, a sealed building caught fire, resulting in fatalities and public outrage. Protesters held blank sheets of paper as a silent form of resistance, known as the “White Paper” or “A4 Revolution.” It also acknowledges that the struggle for human rights is global, affecting countless marginalized communities facing repression. This installation serves as a tribute to those suppressed voices, crossing borders to bear witness to the ongoing fight for dignity and freedom.
With the intention to give a voice to the voiceless—those who endure pain, fear, and the longing for freedom. These calligraphy marks of “人” represent resilience, silent protest, solidarity, and shared suffering, preserving the collective strength of expression in a world where human rights remain under threat. Over time, the inscriptions will fade, showing the fragile nature of suppressed voices, a metaphor for hidden truths and silenced voices.
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Photo Credits: Richard Pence
Installation Art
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