本作透過AI生成影像與複合媒材的結合，試圖探問在數位擬像泛濫的時代，記憶是否仍擁有其原初的質地。《消逝的蜃景》以「舊家」為起點，導入清空後的靜態紀錄影像，透過AI演算轉譯為片段式、具詩意的動態錄像，如同模擬記憶殘片的浮現與消逝。這些影像既真實又虛構，如幽靈般游離於時間之外，折射出今日影像與記憶的距離。

複合媒材部分則將舊屋牆面轉化為畫布，圖像與質地交織，輔以壓克力肌理製造出如幻燈片殘影般的視覺斷層，使觀者彷彿凝視一場被封存的幻象。這些視覺的「不完美」，如同低解析度的數位壓縮痕跡、牆面剝落的皮層，反而成為對抗數位影像霸權的感知出口。

本作品從個人記憶出發，以AI與舊影像交織的視覺敘事，質疑當代「超真實影像」所構築的感官霸權。作品中「數位詭異感」（Digital Uncanny）不再僅是演算技術的副作用，而是成為反身性的觀看體驗——我們所注視的，不再是家，而是記憶本身被模擬、壓縮、重新渲染後的幽靈。

This work explores the possibility of memory retaining its original texture in an era overwhelmed by digital simulations. Vanishing Mirage uses the “former home” as its point of departure, incorporating static photographic records of empty interiors and renovated spaces. Through AI-driven interpretation, these still images are transformed into poetic, dreamlike video segments—fragments of memory rendered as ephemeral, flickering footage. These images exist in a liminal space: both real and illusory, drifting between temporal layers and reflecting the growing distance between digital imagery and lived memory.

The mixed-media component presents these home images as canvas-like surfaces, integrating printed visuals with heavy layers of acrylic. These tactile materials simulate the texture of old slide projections or decaying wall surfaces, forming perceptual disruptions through a visual language of “imperfection”—such as low-resolution compression artifacts or peeling wall textures. Rather than flaws, these disruptions become perceptual gateways, resisting the dominance of hyper-polished digital imagery.

This work, drawing from personal memory to critique the aesthetic hegemony of “ultra-realistic images” in contemporary digital culture. The sense of Digital Uncanny evoked here is not merely a byproduct of algorithmic generation, but a full-bodied perceptual experience—what we encounter is no longer “what is,” but rather memory itself, simulated, compressed, and rendered anew as a haunting specter.