Rhino, Revit, Blender, Ai, Ps, Pr

Vivian Ton

Philip Vandermey

Asking the question, “how do you survive and escape a binary identity within a society that denies your humanity?” leads to the understanding of one’s ability to adapt or bend the rules to suit their needs and wants.

For the Chinese residents of Canada, one way to become upwardly mobile was through the acquisition of capital through land and property. Maintaining fixed capital and securing one’s place in the Canadian national identity can be identified through examples of cultural hybridity in architectural form.

The conditions to attaining success in a white supremacist culture prevail in the narratives that uphold codes of conduct that govern non-white bodies, by maintaining contrived standards of so-called “professionalism”, “politeness”, and meritocracy. These ideas exist to evade ideas of legitimate fairness and attainment, by locating success as proximity to whiteness – such that mythic notions like the “model minority” emerge to dislocate solidarity across marginalized social groups and enforce lateral violences.

Acting as a counter monument, “Thank You, Come Again” brings participants in to take part in building a futile structure; an allegory for the project of white supremacy. Cheap plastic bags labelled with the “THANK YOU” logo, as often seen in Asian groceries and take-out places are laminated into an inflatable mass. Electric and manual air pumps are attached to the form, which continuously deflates and leaks as unwitting participants labour to keep the structure intact, by providing air or patching up holes with red tape.

© 2022 by Cindy Nachareun. All rights reserved.