Where I am living in, new construction appeared uphill and the old buildings downhill were demolished; newcomers moved in and old dwellers were relocated. I find life fluid and full of changes, you never know if things will change for the better or the worse. For the people who live here though, their daily lives do not undergo much change: they go to school, go to work, take the bus, buy groceries. I am interested in their daily life, I want to enter their lives. What does ‘real life’ entail?

生活無關詩意。現實中我們面對大多的是生活本質的問題，每天生活大多是重複而瑣碎的，更連繫不上藝術的詩意和美感。

在我居住的地區，山上有些東西剛興建好，山下有些東西剛被拆卸，新的人遷來，舊的人被趕走。我覺得生活中很多事物都在轉變，人處於浮動的狀態，不知會往好處或壞處發展。可是對於在這裡居住的人而言，每天的生活又好像沒有多大分別。看著他們上課、下班、等車、買菜，我很好奇他們的一天是怎樣度過的，很想走進他們的生活，藉此尋問：所謂的真實生活究竟是怎麼樣的？

We can all enter and understand someone’s life by peering into their personal surroundings. Going through one home and go to another, I think that the horizontal camera movement is the most objective way of viewing. It does not emphasize the existence of the lens and does not disturb the original environment. It feels like "passing through a place". Time is here in a circulation, which is likely our daily life, and we can't distinguish today or tomorrow.

走進家居，從人們的家看他們的生活。穿過一個家居，到另一個家居。我認為水平移動的運鏡是較客觀觀看的方式，不強調鏡頭存在，不打擾原來環境，感覺是「經過」一個地方似的。時間在這裡是循環的，是我們日常生活狀態，分不出今天或明天。

The project Sap Sap describes the end of adolescence by reminiscing the past, living the present and facing the future to illustrate the circumstances of the young generation. I visited nine friends’ homes, including my own, for Sap Sap; taking photos and recording their family history. In the end of our adolescence, both we and our families hold expectations of one another. We were raised in similar environments and backgrounds, his/her changes, conflicts and relationships can be yours or mine, becoming the shared experience of our generation.

Sap Sap is derived from Edward Yang’s movie Yi Yi. The ten stories represent more than just ten (Sap) families, therefore Sap Sap.

《十十》一詞則沿自楊德昌的電影《一一》，由十個家庭的故事所產生的意義似乎比「十」複雜些，於是作《十十》。我走訪了九位朋友的家（另外也包括自己），為他們的家拍照。相片是以最平實、直白的方式呈現家居，廣角鏡頭下無人的家中，看到整個居住環境和人的生活痕跡。同時，窗外滲出一片白光，我認為是一種無以名狀、茫茫未知的共通狀態。封面「十十」二字也構成一扇窗以作呼應。攝影之外，更加以文字，記下我們的家庭歷史，成長在相近的地域和歷史背景之中，家庭的相處、變化和衝突，似乎可以「是他，也是你和我」，構成我們這一代人共同的故事。「翻頁」這動作與《安居》錄像的橫向運鏡互相呼應。

During this year, I studied a lot of family ethics movies, such as from Ozu Yasujiro, Hou Hsiao-hsien, Yang Dechang, and Ann Hui. I like to see how the directors handle the relationship. In the film language, there are some scenery shots (aka. pillow shots) to make connection between the fragments. The pillow shots are mostly landscapes or still pictures without the main body, which can express the time, place and atmosphere. I hope to use pillow shots as an entry point to describe the ordinary, everyday and unintentional moments of life. Pillow Shot (Day and Night): The photography refers to the first scene of the movie “The Way We Are” by Ann Hui, a half of sky and the other half of residence. Slow breath light creats the temporality, which is a illusion of sunrise and sunset. Pillow Shot (24 frames): In many movies, there are pillow shots looking out the window. I took 24 images of sky near my home in 24 hours, and then concentrated them into 24 minutes. The sky was turn light into dark graduately and then loop. There is nothing special about it in a day.

這年間我看了很多家庭倫理電影，小津安二郎、侯孝賢、楊德昌、是枝裕和等作品，很喜歡看導演如何處理「關係」的故事。在電影語言中，片段之間會有一些空鏡作連接，空鏡大多是沒有主體的風景或靜物畫面，能表達時間、地點和氛圍。

我希望以此作為切入，描述生活中的平凡、日常和無意中錯過的時刻。

第一組裝置：參考了《天水圍的日與夜》開埸的日出，以相片和漸亮漸暗的燈，形造出時間性，一個處於日出和日落的時間點；

第二組裝置：很多電影都會有向窗外望的空鏡，我在廿四小時裡在家附近拍下廿四個的天空的畫面，天空由光到暗，大概一天沒什麼特別就過了。