This series of works is an offshoot of my Mirage series. I developed this new story and maintained the creation methodology of the previous series at the same time. I chose the layout and the materials of the collage in my scenes after I was inspired by the border areas between sea and land. The process of making the collage and arranging the layout was also a process where I could piece together the relative fragments and complete myself at a particular time. I could dig into and know about myself when I got involved in these scenes. I chose the materials that I thought have a potential connection to these scenes in a relatively conscious state, and after that, I would go back to the scenes in a sort of unconscious state. It’s like a self-portrait in the abstract sense. I also chose a lot of integrated materials in the works, because I think that the materials themselves or the colors themselves have the ability to tell a narrative. When complex fragments collide with each other, the result can be very uncertain, and of course, I hope that these uncertainties would also surprise me.

I used water and earth in this set of works as visual clues to connect the coincidences I created subjectively. They are like the foreshadowing and hints in a movie. The way the exhibition was laid out was a semi-resident process for me. For example, some of the color blocks and materials that support the main works could form a complementary relationship with each other, or they could meet the sensory needs of the color block planes on site. From the sea in the window, the water in the pool, to the installation on the engine, and then to the physical installation outdoors, the property of the same item changes subtly in the four spaces, which can give different sensory experiences to people. These are the things that make me feel intrigued.