001 → Notes on (Briefly) There
Publication Collection:
2 × A4 posters — printed in colour on transparent tracing paper.
1 × A3/A2 poster — monochrome print on Chinese rice paper；
1 × A5 saddle-stitch booklet;
Postcards (A6/A5, mixed papers); Bookmarks; unused films (proposed)
Publication2025
Notes of (Briefly) Being Here
A four-part bilingual project that collects perceptual fragments from travel (06–08/2025) and reassembles them through drawing, photography, and prose. Rather than chase narrative closure, the work treats paper and small printed matter as sites for interruption, delay, and return — privileging presence over legibility.
《短暂在此的注记》
一个由四个章节组成的双语项目，采集 2025 年 6–8 月旅途中的感知碎片，并以绘画、摄影与文字重新编织。作品不追求叙事闭合，而是将纸张与小型印刷物作为“中断—延迟—回返”的发生场，让“在场”先于“可读”。
Section A : Note on Being Briefly There | 项目概要 / 材质研究
Poster as summarised knowledge — what a single page can do to take hold of the diversity of information.
Section A forms the conceptual and material foundation of Notes of (Briefly) Being Here.
The work begins not with content but with substrate — paper as a site of thought, a record of delay, and a carrier of gestures that resist completion. Each poster functions as a test environment where language arrives late, often fragmentary, allowing presence to appear through hesitation.
The translucent tracing paper and absorbent rice paper create two perceptual states — one filtering, one absorbing — together reflecting how perception oscillates between distance and intimacy. Rather than a visual manifesto, this section proposes a methodology of fracture: to treat interruption as insight, to find coherence within what cannot be held still.
以海报作为“知识的摘要”——探索单页在承载多元信息时的表现力与聚合力。
Section A 是整个《短暂在此的注记》的概念与物质基础。作品并非从内容出发，而是从“载体”开始——纸张既是思考的场所，也是延迟的记录，更是拒绝完成的姿态的承载体。每一张海报都像一个实验场，让迟到的语言以碎片形态抵达，使“在场”通过犹疑得以显现。
描图纸的半透与宣纸的吸墨形成两种感知状态——一为过滤，一为吸收——共同映射出感知在疏离与亲近之间的摆荡。这并非视觉宣言，而是一种“断裂的学说”：在中断中发现洞见，在无法停留之处寻找连贯。
Section B — Appendix of Misread Places and Minds | 误读之地与心之附录
Experimental illustration with concrete poetry
— testing how drawing and text re-assemble fragmented consciousness through visual rhythm.
Section B extends the project into a durational, drawing-based archive. It attempts to retrieve the “unarchived self” — those fleeting inner gestures that escape the instant of their occurrence. Each drawing becomes an act of delay, while the accompanying text functions as mnemonic residue: an echo returning after the event. Within this appendix, the self no longer performs authorship; it occupies the blind spot of its own gaze, folded into time, dragged by duration. The booklet form — small, portable, imperfect — embodies the quiet persistence of memory that cannot be fully recorded yet refuses disappearance.
以实验性插画结合具体诗的形式，测试绘画与文字如何通过视觉节奏重新拼合碎片化意识。
Section B 将项目延展为一种基于绘画的时间性档案。它尝试召回那些未被即时保存的“自我片段”——那些在发生瞬间便已逃逸的内在动作。每一幅绘画都是一次延迟，而附文则成为记忆的残响：事件结束后回荡的回声。在这一附录中，自我不再扮演作者，而是被安置在自身视线的盲区，被时间折叠、被持续性拖曳。册页形式——轻便、可携、略显不完美——正象征着那种无法完整记录却拒绝消散的记忆持续性。
Section C — Unsolicited Travel Guide
Section C reimagines the travel guide as a design-research publication that blends photography, narrative, and typographic mapping. The editorial structure alternates between image and prose, exploring how sequence, pacing, and paper stock can produce psychological shifts of distance and belonging.
Margins act as breathing space; captions behave like coordinates; images unfold as visual essays. Through deliberate misalignment and interrupted grids, the design resists the certainty of orientation — instead building a visual methodology of dérive, drift, and re-seeing familiar terrains through dislocation.
This is a guide for no destination. It traces how perception itself travels — how being somewhere always involves partial estrangement. Objects become silent protagonists: chairs, towels, shadows staging private dramas of habitation. Photography serves not as proof but as after-image; writing, not as narration but recalibration. The work lingers in that fragile interstice where presence turns into observation — when the act of seeing becomes a quiet way of being elsewhere. It proposes that travel, ultimately, is not movement but attention.
Section C 将“旅行指南”重新想象为一部融合摄影、叙事与文字地图的设计研究出版物。编排结构在图像与文字之间交替展开，探索序列、节奏与纸张质地如何在阅读过程中制造心理上的“远与近”的转换。
页边如呼吸的空隙，注释如地理坐标，图像则展开为一篇篇视觉随笔。通过刻意的不对齐与被打断的网格，设计拒绝确定的方向感——转而构建一种“漂移式（dérive）”的视觉方法论，让熟悉的景观在错位中被重新看见。
这是一份没有目的地的指南。它描摹感知本身如何旅行——如何在“身处某地”的同时，始终带着一丝疏离。物件成为无声的主角：椅子、毛巾、影子在无声上演居住的私密戏剧。摄影不再是证据，而是余像；文字也不再是叙事，而是一种重新校准。作品停留在一种脆弱的缝隙中——在“存在”与“观察”之间，当“观看”的动作悄然转化为“身在他处”的方式。
它提出，旅行的本质，终究并非移动，而是专注。Section D — Scattered Matters
Section D concludes the system as an open archive — postcards, short video loops, process notes, and re-usable fragments that extend the project beyond publication. Each piece is designed as a modular component, capable of recombination and adaptation. The display method — grids, folders, projection — emphasizes circulation over fixation, proposing an ecological model for design practice: where leftover materials become prototypes, and by-products are reframed as future inputs. The section articulates an ethics of iterative making, turning design from finite production into perpetual conversation.
What remains after the work ends is not residue but renewal. These scattered pieces breathe, migrate, and return in altered forms. Each carries the ghost of a previous gesture, waiting to be reassembled into new constellations. In this afterlife of fragments, disappearance becomes a mode of continuation — a quiet resistance to completion. To gather, to scatter, to begin again: this is how the work endures, not by permanence, but by circulation — the slow, generous rhythm of things finding their next form.
Section D 以“开放档案”作为体系的收尾——由明信片、短视频循环、过程笔记与可复用碎片构成，使作品超越出版本身继续延展。每一件作品都被设计为可模块化的单元，能够重新组合与适应。展示方式——网格、文件夹、投影——强调“流通”而非“定格”，提出一种生态化的设计模型：让剩余材料成为原型，让副产品转化为未来的输入。
本章阐述一种“循环生成”的伦理，将设计从有限的产出转化为持续的对话。
当作品结束后，留下的不是残余，而是更新。这些散落的片段呼吸、迁移、以不同的形态回归。每一件都携带着先前动作的幽影，等待被重新组装成新的星座。在这些碎片的“余生”中，消逝成为延续的一种形式——对完结的温柔抗拒。
收集、散播、再度开始：作品得以延续的方式，不在于永久，而在于流动——一种缓慢而慷慨的节奏，让万物持续寻找它们的下一种形态。