This creation is like a practice in “unstable viewing.” As we scroll through social media, city images flicker, switch, zoom in and out, compress — I’ve tried to understand Tainan through these cropped fragments. Yet the more I see, the more alienated I feel: a cyclical perception that seems to approach, but always lingers on the surface.

The work consists of two Tainan-inspired paintings, each sliced into sixteen small grids like shattered memories. The girls in the frames resemble twins, yet starkly different; their eyes are blocked, symbolizing “blind scrolling” on social media. When the two paintings unite, they stand back-to-back, each gazing into entirely different worlds.

The paintings collage partial scenes of Tainan, with each grid using different media: acrylic, watercolor, ink, gouache, marker, pastel, colored pencil… These materials, each with unique qualities, connect yet repel each other—mirroring the diverse, ambiguous messages we receive daily from all directions. The image appears linked, yet fragmented; thinking we’re reconstructing the whole, we’re actually just cyclically collaging “fragments.”

Displayed in a triangular structure on a wire mesh, viewers must physically move and shift angles to see the work’s complete form—echoing how we constantly refocus amid the information flood.

The exhibition includes my mind map—《片面碎語》Mapping the Fragmented Gaze — capturing fragmented thoughts and emotional flows from the creation process. Viewers can read alongside the paintings, re-experiencing those disjointed perceptions and associations.