Sekaikei (2022) is a two-channel video that navigates the blurred terrain between apocalyptic imagination and digital reproduction. Borrowing its title from a Japanese term that fuses personal emotion with global crisis, Sekaikei examines the dissolution of grand narratives in the face of fragmented, data-driven world-making. Drawing from Hiroki Azuma’s theory of “Database Animals” and Eiji Otsuka’s critique of narrative structure, the work reflects on how identity, community, and meaning are constructed in the aftermath of cultural collapse.

Narrated using the script of the final episode of Neon Genesis Evangelion (1995), the work contemplates how new worlds are generated, through memory, emotion, and the default architectures of software. Built with Cinema 4D and Blender, Sekaikei dissects the visual grammar of game engines and rendering tools, exploring how technological layers mimic and distort reality. It probes the aesthetics of the “default”: standardised skies, prefab terrains, virtual bodies, as both limit and potential in image production.

Rooted in diasporic estrangement, the work proposes “nomadalgia” in place of nostalgia: a persistent longing without origin or return. Sekaikei unfolds as a digital elegy, where database fragments form a landscape of crisis, desire, and deferred belonging.

《世界系》（2022） 是一部雙頻道影像作品，探索了末世想像與數位再現之間模糊的疆界。作品標題取自日語詞彙「世界系」，《世界系》這一概念將個人情感與全球危機相融合。《世界系》審視了在碎片化、數據主導的世界，宏大敘事如何走向解體。作品借鑒了東浩紀關於「資料庫動物」的理論，以及大塚英志對敘事結構的批判，反思在崩塌之後，身份、共同體與意義是如何被重新構築的。

作品的旁白取自《新世紀福音戰士》（1995）最終一集的劇本，藉此思考全新世界如何透過記憶、情感與軟件的預設架構被生成。《世界系》以 Cinema 4D 與 Blender 製作，剖析遊戲引擎與渲染工具的視覺語言，探討技術層如何模仿並扭曲現實。它深入審視「預設」的美學——標準化的天空、預製的地形、虛擬的身體，這些既是影像生產的限制。

根植於離散的經驗，這部作品以「遊牧鄉愁」（nomadalgia）取代「懷舊」（nostalgia）：一種無源、無歸的持續渴望。《世界系》如同一首數位輓歌，在資料庫的碎片之中，構築出危機與慾望的景觀。