A "docufiction" where amateur actors encounter a living funeral of the main character (amateur actor also). Through the rituals, all of them have to face death early, hence, to reflect and to cherish the bonding between the group. The video work hopes to discuss how we should face the certainty of death, and how we can bid farewell better believing there is something beyond death. 透過拍遺照、穿壽衣、化「死人妝」等儀式，親友在生前喪禮中提前接觸主角的死亡，一同反思，並重新審視大家之間的連結。 假若死亡是注定，不如好好記住、好好說再見，再一同盼望死後伴隨的是新生。 ---- 死亡是個不自覺會接觸與思考的命題，既然逃避不了，不如好好了解與反思其意義。 近年接觸到生前喪禮的概念，十分深刻。生前喪禮特別在於喪禮的主角也還是活生生的人，但藉着不同喪禮儀式體驗「臨終」，甚至「死後」的感覺。這亦是個難得的契機讓喪禮主角和其它參與者好好表達謝意、好好道別、好好珍惜往後相處的日子。 生命總有限期。那若然_也是個人，若然他知道自己或許與死亡距離不遠，他會否也選擇與自己親近的人舉辦一場生前喪禮？面對種種不捨、傷痛與不安，他會以什麼心態舉辦自己的喪禮？他又該如何安撫自己及其他親友的複雜情緒？同樣，我們這些親友又該如何面對如此狀況？ 這場生前喪禮以道教形式進行。與其說是宗教偏好，更多的是其背後的信念。道教認為透過破地獄儀式，逝者在死後七七四十九日內，都有機會誠心除淨罪惡與遺憾，轉世輪迴，迎來新生。因此死亡未必只是個句號，而是個新出發點，好讓生命化作另一種型態繼續生命。 假若死亡是注定，不如好好記住、好好說再見，再一同盼望死後伴隨的會是新生。

Served as the Director, Art Director and Scriptwriter.

Served as the director and one of the art directors (art direction group project)

In this work, I wanted to recreate an experience a few of my friends and myself encountered lately - panic attack. It can happen randomly and without an apparent cause. We endure physical suffering when there is no real danger, such as shortness of breath, paralysis, headache, and loss of control...etc. We then enter a state where time does not seem to exist and suffering seems endless. By then, we can often experience a distorted feeling of time and space, where senses are sometimes strengthened, for example, being annoyed by a slight amount of sound easily. These kinds of surreal experiences appeared to be unfamiliar to the general public, or even to ourselves. I believe it somehow uncovers our unconscious mind by releasing physical signals. Therefore, I found it interesting when I tried to present the experience in video form with several symbolic imageries. For instance: a red bucket that represents the intenseness and the closure of space - alienation from the surrounding and self, a hammer and nails that symbolize the feeling of threat, discomfort, and numbness. Other symbols such as rope, water, plastic wrap, and different kinds of sound sources also helped to visualize the unique experience. Due to the nature of panic attack - alienation from time, space, and self, there is no clear causal relationship, plot, or dimension of time in this video. But only, a sense of distortion, confusion, and chaos.

"You Be Mother" by Sara Pucill is an interesting work where the artist projects her own portrait onto a tea set's surface. She objectifies humans and divides the facial features into pieces. I love how she brings out complex emotion and meaning in such a simple setting. For my own study, I tried to imitate her "projection of portrait" with a slightly different method. Instead of a real projector, I printed out my own photo (screen capture from my previous video work “ONE of Those Nights”) and did some simple cut and paste to put pieces together in order to "project" my face onto the tea set. With a specific angle, an integrated version of me could be seen from the camera. In "You Be Mother," Sara made use of actions like repositioning, pouring and stirring, to play with viewers' spatial experience. Similarly, when I changed the camera perspective or the tea set's position, my face would be dislocated and distorted. Furthermore, due to the use of material - paper and ink, pouring water would melt away the ink and taint the water. While repeating the pouring process, the paper surface got more and more damaged, whereas my face became more and more obscure. The entire process created an unusual and bizarre experience.

I felt like there was way too much information forcing us to receive everyday. This exhausted me often. I came to a point where I got lost in finding a suitable angle to understand the world. Perhaps it is easy to get numb and overwhelmed when there are too many events, news or opinions around. And personally, my creative energy has become very low due to the confusing happenings and heavy workloads. But luckily, I came across several footage I filmed when I was little. One of them was a vlog-style house tour video I recorded along with my childish narrations. I was in my primary second grade, with a cheap point-and-shoot camera. I found it interesting and oddly rousing as I turned the camera upside down in the second half of the video, while introducing my house as “倒轉世界” (a world that turns upside down). With this little twist of perspective, everything in my apartment (such as the window view, the tap water, my sister… etc.) seemed to be fascinating to my younger self. This gives me a great flash back and reflection, since my way of observing the outside world from now and then has changed. The contrast is quite interesting as I realised that perhaps concepts I used to know have been forgotten among time or new experiences. For the video, I have also tried different effects to enhance the emotion, also to experiment the footage I recorded in the past and the current. Consequently, I develop this work based on the old footages as an extension. Footages from now and then interspersed along the video, creating a thick description with an unusual perception of time. This is also a kind of self-reflection, where my current 19-year-old self looks back to my 7-year-old self.