This project uses annotated drawings as a memory device to map my family’s activities and spatial relationships, situating my childhood experiences within the past and present homes where I grew up in Hong Kong. Through spontaneous sketches, it expresses my memories, embracing inaccuracies that mirror the fleeting nature of recollection. The hand-drawn quality enhances their ephemeral essence, adding a personal, intimate touch, while the use of rudimentary sketching techniques parallels my childhood artwork. Depicting movement and interactions between family members, the drawings explore home as a space of both connection and isolation, illustrating the fluctuating closeness of my family over time and the growing presence of physical and emotional absences in my life. The project aligns with the Media Studies theme of ‘Failure, the Impossible, and the Unknown’ by questioning whether shifts in familial bonds signify ‘damage’ or ‘failure’ and whether repair is necessary—or even possible—simply because of blood ties. By documenting my relationships only up to the present, it acknowledges their evolving nature, with future changes remaining uncertain. The process itself reinforces these themes, as using pen forces me to accept imperfections rather than start over, with inconsistencies in scale or misplaced details becoming integral to capturing the hazy, fragmented nature of memory.