The old and the new, social custom and symbol are explored in this multi-tiered creation. Black paper cut (Jian Zhi) carves out a visual space which comprises skeletal, abandoned architecture unique to Shanghai at the foreground and a monolithic building impregnated with digital lights at the rear. Mounds of sand and soil lie adjacent to the spectral building whose wood and tiles are detailed in the negative space of the wood cut, we are imbued with a sense of loss and ruin. The scene is an altogether familiar one in the mainland as urban renewal decrees that ample housing and new structures match the demands of an explosive economy and equally explosive population. The doors of nostalgia are opened and struck apart in this work, which would prove to be entirely foreboding if not for the digital figure whom appears in cyclic intervals skipping rope between the juxtaposed scenery of old and new visual icons. Upon one derelict wall appears the Chinese character, “Chai”, literally, “destruction”, which is seen across sites slated for demolition by the municipal workers who wish to alert residents of the pending demolition of their housing or property. Destruction, on occasion, results in a mixed blessing for tenants as the city or municipality is bound by law to compensate financially for whatever equivalent loss to the resident family or proprietor. The title is humorous, Double Happiness is the name of a popular brand of cigarette, two Chinese characters together imply both prosperity and fortune as well as bestow luck in marriage.  The irony of the work circumnavigates the portrait of demolition, Double Happiness weds old and new, incorporates popular status and consumerism with architectural, urban “progress”. The wasteland is a playground, while the old succumbs entirely to the new, we may laugh and celebrate our trivial customs and curiously observe the travesty of cultural and artistic forms. A bold,cynical and amusing work which visually tackles horizons of destruction and renewal while equally commenting upon the relevancy of the humane in the aftermath of dislocation. [Rajath Suri]