图像中记录的悲剧场景基本都是正在发生之时，毕竟图像是静止的且带有形象的信息集合体。这种静止就是一种永恒的发生，将一个行进中的悲剧选择了一幕裁切下来作为了一个时间切片。这个切片可作为属于分析的培养皿中进行加工改造，抽离出其中的情绪，用再次描绘的方式去将其中的精神又一次进行涤荡。引导着图像进入那个“零”的状态，不带有评判与偏见，不带有波动的情感与情绪，去转变成一个图像内容的精神悬停，就像是两个念头的中间地带，也是事件发生的之前、当下与之后的一个整体。消除掉图像背后的情感意义，并同时去形成心理学层面上的一个疗愈性质的瞬间。好比情绪的种种波动作为一个数值在精神标尺中点上正向的区间，而可让波动回归平静的因素作为对称位置的负向对称出现，此时用数学来展示就是达成了-1+1 = 0 。这个再编排的图像就是其原始图像的“反图像”，去反制图像中精神的波动，消解其中的一些形象和形式，将其悬置在那个既是结束也是临来的真空地带。
Nodes and hovering
The world is purely impermanent, going through establishment, occurrence, end and extinction in the course of its universal existence. And that end may be the next establishment, or that establishment may follow the end of the last demise. In the midst of endless and endless change, something that appears to be an accident may later become a constant, just as a constant can become a rare accident after a point. Like human emotions and thoughts, if not observed by one's own awareness in the present moment, it is easy to get caught up in a thought and drown one's mind in anger or ecstasy, etc. When looking within, try to detach yourself from the ego as much as possible, as if you were sitting in a recliner on the side of the highway, facing the constant traffic, and watching in the moment with an attitude of impersonal prejudice, when the watcher can be called the Self.
When a wave of fear or anxiety rises up, various dramatic elements come into play: conflict, anger, helplessness, confusion, loss, etc. Like the beginnings of catastrophes in human history, they are filled with events that are tragic in form and content, a collection of events that overlap to cast a gloom over this geographical area in this time interval. The fear is carried by countless individuals, breaking down the total whole into a myriad of smaller tragedies, which continue to be deconstructed and present a boundless fear. There is a moment when the event comes to an end, a point of transition, like the moment when the mood swings calm down. It is a moment of absolute pause, free from any prejudice or judgement, a pause in the state of mind that stops the mood swings and allows the calm to return. At this point the individual reaches a state that breaks through the dichotomy of logical thought, what might be called the 'zero' moment, where there is no left, no right, no up, no down, just the purity of everything as it was at the beginning, when it happened and when it did not happen. Perhaps the enlightenment of the realised is at this point, when the mind is kept in the mental vacuum between the two thoughts. The heart of any individual at this point is not unlike the eternal and impermanent universe.
The tragic scenes recorded in the images are essentially the moment when they are happening; after all, the images are still and a collection of information with images. This stillness is an eternal occurrence, a selected scene of a tragedy in progress cut out as a slice of time. This slice can be transformed as a petri dish for analysis, the emotions extracted from it and the spirit cleansed again by way of re-depiction. The images are guided into that "zero" state, free of judgement and prejudice, free of fluctuating feelings and emotions, into a mental suspension of the content of the images, like a middle ground between two thoughts, a whole before, during and after the event. The emotional meaning behind the image is eliminated and at the same time a moment of healing on a psychological level is created. It is as if the fluctuations of emotions appear as a positive range of values at the midpoint of the mental scale, and the factors that can bring the fluctuations back to calm appear as a negative symmetry in a symmetrical position, which in mathematical terms is the achievement of -1 + 1 = 0. This rearranged image is the 'anti-image' of the original image, counteracting the spiritual fluctuations in the image, dissolving some of its images and forms and suspending them in a vacuum that is both the end and the future.
In the same way that I choose images to recreate, I choose images that resonate with a certain emotion - a sense of the moment before fear, a sense of the imminent beginning. I then overlay what I think is the cause of the emotion in the image with silver to bring it out in the image. I think of silver as a colour of silence, a colour without colour if you will. It is like an emptiness that takes in everything, reflecting and encompassing anything that passes in front of it, turning anything material into an imaginary image. The viewer also changes the refraction of the colour in his or her vision by shifting position as he or she looks, as if he or she were going face to face with an experience, drawing on a certain angle of that presence in the movement of the present mind. This reflection and refraction in reality reminds us to remain aware in our emotions, while at the same time navigating this dream-like imaginary image.