The work spatialises emotional paralysis, translating an inner psychological state into a fragmented architectural field. Composed of multiple brick-like forms affixed to the gallery walls, the work evokes both containment and suspension—objects neither fully embedded nor free, hovering in a state of arrested movement. This liminality becomes central to the work’s conceptual force. The title itself is deliberately paradoxical. “Heaven” conventionally implies transcendence, liberation, and solace, yet here it is rendered “colourless,” stripped of vitality and promise. This oxymoron reflects the artist’s lived experience of confinement within four walls—where safety becomes suffocation and stillness turns into stagnation. The work does not depict escape; instead, it stages endurance. The artist intends to align the viewer with a muted emotional register—one of numbness rather than despair, paralysis rather than collapse. The work thus reflects a contemporary condition shaped by isolation, uncertainty, and the psychological toll of living in a world that demands resilience while offering little reprieve.