​Growing up between Eastern and Western cultural contexts, I became aware of differing expectations around the expression of anger. In some environments, anger is suppressed in favor of social harmony; in others, it is expressed more openly. Internalizing frustration — redirecting it into productivity or physical exertion — led me to question how so-called “negative” emotions are culturally regulated and socially framed.

The Rage Box is a device for contained release. Encased within a transparent structure, a carved wooden arm repeatedly strikes a surface while a recorded scream erupts when a large red arcade button is pressed. The gesture is exaggerated yet confined, theatrical yet systematized. The viewer activates anger safely, within a mechanism designed to display and regulate it.

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The work treats anger as spectacle and commodity — something triggered, consumed, and contained. In a culture that privileges productivity and emotional control, the piece asks: what happens to unfiltered feeling? Which parts of ourselves must be boxed away to remain functional?

The Rage Box operates as both tribute and critique — an exploration of suppression, catharsis, and the architecture of acceptable emotion.