In a chaotic system, it’s impossible to define the positions of perpetrator and victim. As I read through the countless chapters of victimized girls in Bolano‘s 2666, a sense of powerlessness compels me to speculate about the true identity of the perpetrator. These fragments serve solely to visualize some of the fragmented information in my mind, extracted from the world of information, and generate new content within the existing information system. 

I attempt to create a genuine subjective experience, allowing viewers to imagine a series of violent events about sex from these fictional image fragments. This dislocated thinking is very common in life; people's subjective consciousness determines what they see, and what people see is also disciplined and designed. The so-called truth and falsehood often lack definite standards of definition, instead occupying a large gray area in between. This is where most people live. I believe this zone is the oasis of imagination, where countless "subjective truths" are created.

This series represents a fictional investigative dossier. Rather than crafting a continuous visual narrative through traditional photography, my approach begins with a contemplation of the essence of "images." I utilize existing visual materials to construct a narrative within a fictional framework. This choice also signifies the creation of a disjointed timeline, transforming the narrative's timeline into a nonlinear portrayal, aimed at blurring the concept of time and space, thus allowing the narrative images to provide a subjective experiential loop.

Through this process, I aim to create a new set of images that reflect the narrative I've envisioned. As W.J.T. Mitchell suggests, "The world does not depend on consciousness, but the images of the world clearly do."