But the installation was rejected by the developer of Fortune Plaza. Xu guesses that this is due to the fact that the work, made as it was with recycled materials, wasn’t in‘harmony’ with the luxury building. The piece was soon bought instead by Lin Baili, a Taiwanese entrepreneur.

The installation, Phoenixes, aroused much debate when it was unveiled in Beijing – far exceeding Xu’s expectations. At a seminar that was later held at the Today Art Museum, artists and scholars spoke highly about the complex meaning of the work. One curator from the Museum of Modern Art (MoMA) used the word “stunned” to describe his reaction on first seeing the piece.

Xu is pleased it is having an effect. Though he feels a deep connection with contemporary Western art, Xu maintains that his work still has a strong Chinese root. “When I was a child, I was told that art belongs to the common people. Having lived in the West for many years, I still hold special affection for ordinary Chinese. When I saw the pitiful life led by hard workers on construction sites, I wanted to create a piece especially for them. Capital, art and people are three factors entangled together, and their complicated relationship is a delicate topic in today’s China. I think this gives my installation added meaning.”

Phoenixes was chosen by the Shanghai Expo largely because it works as a metaphor for China’s rapid urbanization. It also has a global reach – the legend of the phoenix reborn from the ashes exists not only in China, but also in India, Greece, and many Arab countries. “Through painful trial by fire,” Xu comments, “the phoenix becomes even more beautiful after rebirth. This is how human cities originated and developed. My installation symbolizes what mankind underwent during the process of urbanization. Upon seeing it, I hope that everyone – whether from China or from overseas – can feel the power of life.”