透過歷史照片的解構，以及討論照片及記憶退化的過程，創作者將這樣的時間性和類比影像的視覺雜訊結合（包括了數位影像的粒子及文本）試圖拼湊出一個時間和資訊一起崩解的過程 (將影像裁切並放置於透明夾板內)，對我而言歷史的影像是重複被書寫及定義的，照片及記憶本身的在當下就已經結束，且演變成一個流動的訊息，其存在因為時間的累積而與觀者產生距離且本質被慢慢稀釋掉。

藝術家試圖提出一個對於照片自身的「歷史」如何被人理解、事物如何被人觀看的問題，藉由藝術的視覺語言提供一個線索，討論被攝影者的歷史及肖像及身體的重新想像，一個當代人失去身體的狀態，使照片轉換為一個不段增長和消退的生命體。

Historical photographs and photographs are qualitatively altered in their material (Fading, yellowing and traces of use) Such an evidence of use shapes a physical temporality and its fading, In the process of seeing, the viewer can also feel the spiritual time between photos and personal feelings (a perceptual space that I imagined through the past). In the degradation of the image, I converted this temporality into a digit code,  like the noise generated by analogue output due to abnormal signal or poor reception or an abstract structure that appears because of an electronic failure, which constructs a new image with pictures and signals that are merged together and difficult to recognize.

​

In the process of photo deconstruction, it reflects my thinking about the image itself, the process of deconstruction is actually flowed and cannot be completely separated from the subject. How to make this abstract emotional trait into a transformation becoming the most exciting part of ay works, The deconstructed text becomes a visual mark, Dialogue through the arrangement of colours and structures and the photos on the first layer, the manuscript becomes the line to serve the picture, And in this stage, the paper with the text is a three-dimensional object witch its visual rhythm is generated in the structure of the interactive stack

​

​

​​