I used my personal intimate memories accumulated in the two years I’d spent in the States to make a book. Every image’s “studium” has been intentionally positioned in the binding part in the middle of the book, making any faces or facial impressions invisible. The reader is then only able to peek at the abstract figures or ambiguous narrative elements instead of particular people or things; to me as the author, as a result of not being able to see, was able to keep the true memories in literally the middle of the book—the deepest spot in my memory.

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