Daybreak was a site-specific painting installation designed in response to the gallery’s architectural space. Taking advantage of the low ceiling height on the second floor and the stark material contrasts among the walls, floor, and ceiling, the work constructed an anti-display landscape of paintings within the exhibition hall. All the paintings were suspended in midair, with their surfaces facing downward toward the floor, while the backs of the frames were uniformly covered with black aluminum panels. Visitors could only view the works by relying on mirrors placed on the ground, yet no matter the angle, it was impossible to see the paintings in their entirety.

By combining historically charged, paradoxical painting imagery with this unconventional display strategy, Daybreak created a paradoxical site of meaning—evoking collectivist connotations while simultaneously opening multiple layers of interpretive contexts.