"At midnight, the power went out at my place, enveloping the entire neighborhood in darkness, except for my scooter's mobile headlight illuminating the way. I found a lit-up 7-11 and continued working on my laptop there. Distractedly, I looked up and noticed the green, red, orange, and white stripes of the 7-11 sign resembled moiré patterns, juxtaposing decorative static symbols with the materiality of moving images. Absurd thoughts flooded my mind: 'Are moiré patterns influenced by 7-11, generating frequency fluctuations, or is 7-11 subtly inspired by moiré patterns? If I use moiré patterns as material in my works, am I copying 7-11, or is it imitating me?' Though lacking logic, these thoughts sparked organic, imaginative exploration.

By synchronizing physical and online spaces, the project disrupts their hierarchy, blurring the boundaries between image or light's temporality, carrier volume, and exhibition space attributes. Through conceptual models and sketches, it fosters dialogues among existing, finished, or semi-finished objects, flattening their spatiotemporal and power differentials, thus rendering the sequence of existence irrelevant. The project, titled 'When Copying Becomes Incubation: Which Came First, the Chicken or the Egg', explores derivative creation and reproduction, spanning diverse virtual and tangible media such as video, documenta, performance, painting, sculpture, found objects, and installations. Through collage, appropriation, deconstruction, and reassembly, it shapes classical, diverse, mysterious, and subtle states of uncertainty.

Rooted in ontological thinking about showcasing its techniques, the project responds to any derivative of art as an extension while fostering its own imaginative subjectivity. It engages with art history and exhibition history, thereby touching upon the origin of originality in contemporary media technologies, which is beginningless."