Folds of Window Light takes the window as both its central motif and its medium. The work explores how memories of home can shift from a fixed location into a fluid and foldable spatial experience, shaped by globalisation, rapid urban change and personal experiences of migration.

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The work began through walking and observing the area of Vauxhall in London, where I lived. I photographed and recorded existing windows in the neighbourhood, then transformed them into a layered video installation. In the work, the window is not simply an architectural element, but a complex spatial interface. It separates inside from outside, private from public, while also allowing light, landscape, memory and the gaze to move between them.

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The window acts like a boundary. It divides the inner space of the individual from the external city, suggesting the fragile and shifting line between the self and society. Yet this boundary is never stable. The window also functions like a stage. It makes the interior appear private, while keeping it open to the possibility of being seen from outside. The person behind the window can also become the object of another’s gaze. In this way, the work reflects a psychological tension within contemporary urban life: even in so-called private space, the individual cannot fully withdraw from social regulation, visual control and external relations.

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At the same time, the window is not only a form of separation. It is also a passage. Light, sound, views and gazes enter through it, maintaining a minimal connection between the inner world and external reality. This double function makes the window an important point of entry into my understanding of home. Home is not a completely enclosed space of safety, but a psychological field that is constantly negotiated between protection and exposure, withdrawal and connection.

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In the work, the windows of Vauxhall are layered, folded and reorganised, forming a space between documentary record and psychological memory. They refer to a specific urban location, but also move beyond the stability of a single place. They become containers for migration, solitude, looking and belonging. Folds of Window Light asks whether, as the city continues to change and the feeling of belonging becomes unstable, the memory of home can still be sensed again through light, image and boundary.

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《Folds of Window Light》以“窗”作为核心母题与创作媒介，探讨在全球化、城市高速变迁与个体迁移经验交织的语境中，“家”的记忆如何从固定的地点转化为一种流动的、可被重新折叠的空间经验。
 

作品源于我在伦敦沃克斯豪尔居住期间的行走与观察。我拍摄并记录这一地区真实存在的窗景，将它们转化为具有层叠感的影像装置。窗在作品中不只是建筑元素，而是一种复杂的空间界面：它既划分内与外、私人和公共，也允许光线、景观、记忆与目光在两者之间不断流动。
 

窗像一道边界。它将个体的内在空间与外部城市分隔开来，象征着自我与社会之间脆弱而持续变化的界限。然而，这种边界并不稳定。窗像一个舞台。它让室内空间看似私密，却始终暴露在外部凝视的可能性之中。人在窗内，也可能成为被观看的对象。由此，作品呈现出一种当代都市生活中的心理张力：即使身处所谓私人空间，个体也很难彻底从社会规训、视觉控制和外部关系中抽离。

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与此同时，窗又并非单纯的隔绝物。它也是通道。光线、声音、风景和目光通过窗进入室内，使内在世界与外部现实保持最低限度的连接。正是这种双重性使窗成为我理解“家”的重要入口：家并不是一个完全封闭的安全空间，而是在保护与暴露、退回与连接之间不断协商的心理场域。
 

在作品中，沃克斯豪尔的窗景被叠加、折叠和重新组织，形成一种介于现实记录与心理记忆之间的空间。它们既指向具体的城市地点，也脱离了单一地点的稳定性，成为承载迁移、孤独、观看和归属感的记忆容器。《Folds of Window Light》由此追问：当城市不断变化，而个体的归属感变得不稳定时，“家”的记忆是否仍能通过光、影像和边界被重新感知？