This work meticulously documents the fleeting state of each leaf within a vast bamboo grove, a process that mirrors the counting of days past. Paradoxically, the precision of brushwork and clarity of imagery create a sense of unfamiliarity and distance. Past experiences lie buried in memory, gradually fading and eventually disappearing with time. 

Though rendered in verdant greens on elegant gold-bordered paper, the landscape conveys a profound sense of melancholy. Through layered applications of blue-green and grass-green pigments, I've sought to create a contemplative forest atmosphere. These works consistently utilize diptych or polyptych formats, representing more than natural landscapes or serene mental states—they embody artist’s previous forestscape paintings as powerful symbols and emotional anchors to former times. Throughout these pieces, the artist applies balanced, symmetrical brushstrokes that appear emotionally detached yet imbue the bamboo scenes with an elusive, ethereal quality—like memories gradually dissolving over time. After completion, the artist deliberately erased portions of the finished bamboo rendering with a water brush, creating intentional incompleteness. This tension between erasure and preservation places the imagery between clarity and dissolution. This approach transcends mere technique or visual effect—it reflects artist’s psychological response to past experiences and identity transformation. Particularly after relocating to Taiwan, artist’s memories of Hong Kong—or those historical fragments—represent not simple nostalgia, but rather a critical distancing and deconstruction of past experiences. 

Compositionally, the painting is divided into multiple spaces, using polyptych format to reflect the contemporary phenomenon of omnipresent imagery—whether internet images or photos taken on smartphones, frames have become an inseparable part of the image itself, and this multi-screen painting structure serves as an interpretation of this phenomenon.