天光照亮寧靜波濤，
一則預言墜入死海，
碧水填滿無機孔隙，
眾石甦於神聖之禱。

載浮載沉，
在癒痕的沙岸匯聚，
又隨浪花回到洋海，
上騰無盡穹蒼。
這一切反覆，
乃為記憶所有輕重。

「這河水所到之處，百物都必生活。」——以西結書 47:9

Light shines across the sky, silently, the waves dream,
A prophecy falls into the Dead Sea,
Green springs, fill the holes in finite things,
Waves waking, the sleeping rocks, cuz of sacred beings.
Floating and sinking,
Awash on the beaches, healing,
but only for the tide to undo the deed, flowing,
against, all things, in infiniteness,
again and again, are but memories’ doing.

‘’And everything wherever the river comes will have life. ‘’—— Ezekiel 47:9

本作以一顆石頭落入海中的運動軌跡作為核心結構：石頭自高空墜下，穿越水面，短暫停留於岸邊，隨後再度被潮汐帶離，最終消失於海平線，或象徵性地回返蒼穹。這段看似反常、甚至近乎超現實的物理運動，在影像的循環播放中，構成一種介於下墜與上昇、聚合與離散之間的中介狀態。

作品試圖探討「人」與其所對應之環境介面之間的關係。在這些互動中，並未如直覺所想地沉入海底，而是於反覆的推離與回返之中，映現出生命自身的動能——如同畫面中的石頭，在某種孤注一擲的運動中激發潛在的回應力與位移可能。

本作無意建構特定敘事，而是藉由影像素材的節奏與場域的感官構成，召喚觀者進入一種非線性、非語言的感知經驗。海洋、天光與石頭之間的交錯關係，不僅模糊了內與外、主體與物之間的界線，也將「物」的可感性推向精神層面，使其游移於實體與象徵之間，成為對潛在秩序的一種凝視。

在此，循環不再是重複，而是一種持續發生的張力結構，揭示事物在暫時狀態中所產生的關係位移。作品關注的，並非石頭的終點，而是它每一次被推回邊界時所生成的感知差異，以及這些物件如何在觀者內部，重新構築與生命經驗之間的隱秘連結。

This work centers on the trajectory of a stone falling into the sea—from a descent through the sky, passing the water’s surface, briefly resting near the shore, and eventually being carried away by the tide, vanishing into the horizon or, symbolically, returning to the sky. This seemingly anomalous, near-surreal physical motion, presented through a continuous video loop, delineates a transitional state between descent and ascent, aggregation and dispersal.

The piece explores the relationship between the human subject and its surrounding interface. Contrary to the intuitive outcome of sinking, the stone instead moves in a repetitive cycle of retreat and return—evoking a latent force within life itself. Like the stone, this motion, almost a wager against gravity, generates a form of potentiality through its persistent tension and spatial negotiation.

Rather than constructing a specific narrative, the work invites a non-linear, non-verbal perceptual experience through the rhythm of the imagery and its spatial composition. The interplay between ocean, light, and stone dissolves the boundary between inner and outer, between subject and object, pushing the sensorial quality of material toward a more symbolic register. The object oscillates between presence and metaphor, forming a subtle gaze toward an underlying structure.

Here, repetition does not signify sameness but constitutes a sustained condition of tension—revealing relational shifts within the temporality of each recurrence. The work does not concern itself with the stone’s destination, but with the perceptual variations that arise each time it is returned to the edge, and how these symbolic objects might reconfigure unspoken connections to one’s own lived experience.