The project examines the "deviated space" between comprehension and loss, focusing on the linguistic detachment experienced within an ancestral village. Within this territory, the local dialect—alienated by the standardisation of Mandarin—functions as a domain of exclusion. The work treats translation not as a bridge, but as a site of deconstruction, where gestures and tones trigger productive misunderstandings to form a new, absurd language.

The moving-image installation utilises daily dialogues in the local dialect, sourced from family recordings. These are layered with a colonial-era photographic archive of the same land, which once claimed to objectively document the territory. By sequencing these two archives, the project presents a field of absurdity that mirrors the author's linguistic isolation, exploring how personal memory interacts with the objective, often-distorted history of the land.

Through moving images and collaged photography, materials are fragmented to find meaning in the way they are cut and reorganised rather than in semantic clarity. This methodology allows a new language to emerge in the tension between integration and mistranslation. It exposes the absurd scenarios generated when subjective memory and the colonial archive overlap, transforming the "improper language" of the village into a new creative territory.