The artist translates the expansion map of mobile film projection teams in Southwest China since the 1950s into an abstract collage of stained glass, which is then manually rolled and tin-soldered into a 16-faceted cylinder. Each facet carries specific and repeating patterns that generate optical illusions when the cylinder spins rapidly, producing superimposed afterimages constantly “printed” onto the retina—a response to the mechanisms of moving image generation.

In the early 20th century, whether it was “liangwa” (translucent roofing tiles introduced by local chieftains to illuminate mountainous interiors) or films brought by missionaries, all light-related devices were perceived as foreign objects. This historical context forms the starting point of the artist’s conceptual framework: to reimagine the mountainous landscape as a cinematic apparatus, where the introduction, projection, and refraction of light embody a history of technology, cultural otherness, and the organization of memory.