Suhaimi Fadzir, trained as an architect at Washington University in St. Louis, a discipline he would later fold into his hybrid practice of "archipainting" - works that splice painting, construction and found-object assemblage into one relief-like plane. Executed in 2012, 310857 PEOPLE BANANA + 2 distils that method at cabinet scale. The numeric title encodes Malaysia's Merdeka date, 31 August 1957, a motif Fadzir calls "the independence shout" in several works from the period. At centre, a vivid orange panel, lifted from a Wallpaper magazine cover, becomes stage set for splashed enamel, taped X-forms and a stitched wad of medical gauze balanced on twin aluminium cones. A parade of miniature red figures marches along a battered wooden shelf, while a turquoise toy car idles below, implicating traffic flow, labour and consumer desire in the same tight frame. Critics have traced Fadzir's bricolage impulse to early 1990s experiments, noting how he "breaks the picture-plane to pull social reality inside the work". The piece belongs to a series of wall assemblages realised after the artist's return from a U.S. residency, where he refined a language of urban detournement grounded in Kuala Lumpur street life. Here, structure and gesture coexist uneasily, where architecture meets bricolage, narrative dissolves into symbol, and the familiar becomes quietly disquieting.