本作取材自藝術家於 2023 至 2025 年間所累積的日常影像素材，企圖在記憶與遺忘的縫隙中描繪個人經驗的輪廓，藉此探討影像作為時間記錄與情感遺留的雙重功能。這些影像既是時間的殘留，也是情緒的痕跡。透過片段的重組與敘事轉化，碎片的影像被轉化為一種流動的情感語言，映照出身體與情緒在跨國移動中的不穩定狀態，以及虛擬與夢境之間模糊不清的界線。

作品同時回應當代社會中觀看與被觀看的日常行為。在數位技術主導的生活節奏中，人們不斷拍攝、儲存並消費影像，過量的影像數據逐漸取代當下的感知經驗。我們的經驗被困於過去所生成的影像中，實體的感知經驗逐漸被數據化的記錄所取代，視覺經驗陷入由數位影像構成的時間循環中，真實與再現之界線日益模糊。藝術家探討影像如何成為情感與身份建構的關鍵媒介，也試圖讓影像重新回到身體與感知的現場，觸及那些被觀看習慣所遺忘的真實縫隙。

This work draws from the artist's accumulated footage of everyday life between 2023 and 2025, attempting to delineate the contours of personal experience within the interstices of memory and forgetting. These images serve as both temporal residues and emotional traces. Through the reorganization and narrative transformation of fragmented footage, memory is reconstituted as a fluid emotional language—one that reflects the instability of the body and affect in transnational movement, and the blurred boundaries between virtuality and dream. 

The work also responds to the contemporary condition of seeing and being seen. In a world driven by digital technologies, people incessantly capture, store, and consume images. The overwhelming proliferation of visual data gradually displaces the immediacy of lived perception. Our experiences become trapped within previously generated images, while corporeal perception is increasingly replaced by digitized records. Visual experience is thus caught in a loop of temporal reproduction, where the distinction between reality and representation grows ever more ambiguous. The artist investigates how images function as crucial mediators in the construction of affect and identity, while also attempting to return the image to the site of the body and sensory perception—to those overlooked fissures of the real obscured by the habits of viewing.