This artistic research project is based on the topic of ‘Transition’, and investigates the spiritual and symbolic meanings of a ‘memorial bronze statue’, the additions and alterations to the essence of the statue brought about by the passage of time. The Imperial Japanese Army occupied Hong Kong from 1941 to 1945. In order to satisfy the material needs of total war in Greater East Asia and the Pacific, a ‘copper collection campaign’ was launched on Japan Home Island, colonies and occupied territories. In 1942, the Imperial Japanese Army confiscated 11 bronze statues from Statue Square in Hong Kong. After the war ended, the Supreme Commander for the Allied Powers (SCAP) found four remaining statues in Japan. This video work explores the struggle of losing, retrieving, and repairing the statues, as a self-reflective symbol of the colonial and post-colonial identity of Hong Kong.

1941年から1945年の間、日本帝国軍は香港を占領していた。大東亜戦争と太平洋戦争の総力戦に向けて物資を生産するため、日本本国、植民地および占領地で「銅の収集運動」が展開された。そして1942年、日本軍は香港の皇后像広場から11体の銅像を没収した。終戦後になって、連合国軍最高司令官総司令部（SCAP）は日本に残っていた4体の銅像を発見した。

本作は「変遷」をテーマに、ある記念碑の意味について、象徴性や精神性の観点から探る。複数の話し手によって紡がれるナラティブは、時間の経過とともに変化する銅像の「本質」を浮かび上がらせる。

By the end of WWII, a surviving logistic soldier and a Buddhist Jodo Shinshu Hongwanji sect military missionary still stayed in the 21-square-kilometer Hailar underground fortress near the Manchuria and Soviet Union border,staying unnoticed by those living above ground. In the fictional video, the soldier and monk had casual conversations that covered everything from a Buddhist scripture banned by their motherland to the question of whether the Soviet red army had already left. The underground fortress was a maze; those who were living in the dark learnt to endure the specters, otherwise, the deadly air would consume the beings’ souls. The fortress was deafeningly silent, only the sound of blowing wind from the exit of the underground fortress could be heard. The soldier peered out a hole at the tunnel ceiling, which was blown open by the Soviets, and he spots no sign of human beings.

After being physically confined for a long time, people lost immunity to that invisible, pervasive, and airborne fear. Instead of embracing the long-desired freedom, the sudden release caused mental disorientation and discomfort, which were more virulent and contagious than the virus, and seep permeably into our minds and fleshes. As the classic hermeticism suggests, As Above, So Below: that which is above is from that which is below, the underground darkness could not train a slight feeling of tranquilitytranquillity, just as the illness of ignorance above ground blinds the eyes.

The military missionary sat crouched at the entrance of the tunnel, inaudibly chanting the forbidden verse.

第二次世界大戦末期、満州とソ連の国境近くの海拉爾（ハイラル）要塞に生き残った後方支援兵と浄土真宗本願寺派の僧侶が、地上に気づかれぬよう、滞在していた。本作は、リーが当時のリサーチをもとに、兵士と僧侶の間の会話を創造したものである。一見、何気ないように聞こえる会話からは、禁止されていた仏教経典の話から、ソ連赤軍についてまで、様々な歴史の断片が含まれている。そしてある時、突然解放された彼らは、念願の自由を受け入れるどころか、精神的な混乱や不安感を感じる事になる。古典的な錬金術の言葉に「上なる如く、下もまた然り」があるように、本作では、地下の不穏な空気が、地上の世界における「無知」の病を反映している。