“Turn off the light when you leave” captures a moment during the artist’s stroll. By letting the subject both act and leave, the artist invites a passerby into her filming process, creating an intimate exchange with a stranger.

According to the Public Bus Services Regulations, 1984 (Cap. 230, section 35, part IV), bus drivers must adhere to the following behaviors:
(a) They shall not cause the bus to remain stationary on a road longer than is reasonably necessary to pick up or set down passengers
(b) They shall duly drive the bus by the appointed route to the appointed destination
(c) They shall stop the bus at every bus stop which bears an indication that all buses
(d) They shall stop the bus, if signalled to do so, at every bus stop along the route on which the bus is travelling to allow passengers to alight from or to board his bus

此錄像作品記錄了一輛停靠在馬路中央的巴士，巴士司機在等待維修員到來前的無聊時光。藝術家邀請公眾在這段等待的時刻思考：當日常的人、事、物失去原有功能時，還能展現出什麼其他的價值和意義？

根據1984年的《公共巴士服務規例》(第230章，第35條，第IV部)，巴士司機需遵守以下行為：
(a) 不得致使該巴士在路上停留不動一段較接載或放下乘客合理所需的時間為長的時間
(b) 須依照指定路綫將該巴士妥為駛往指定目的地
(c) 須將其巴士停在每個顯示所有巴士均應在該處停車的巴士站
(d) 如獲示意停車，須在其巴士正行走的路綫沿綫各站停車，讓乘客上車或下車

Lam Wing Sze is a Hong Kong–based video artist. She received her BA from the Academy of Visual Arts, Hong Kong Baptist University, in 2015. Lam currently works in museum education. Participated exhibitions and projects include “ Irregular Plurals: Dwelling” (WMA, Hong Kong, 2023), “Everyday life in Hong Kong and Fukuoka: The study of Contemporary Arts and Kougengaku” (art space tetra , Fukuoka, Japan, 2023), “Our Manifestos II: Videography, Documentary Impulses” (Floating Projects, Hong Kong, 2021), “Portals, Stories, and Other Journeys” (Tai Kwun Contemporary, Hong Kong, 2021), “Sightlines” (Hong Kong Art Centre, Hong Kong, 2019 and 41 Ross, San Francisco, 2017 ), “DREAM Video 100” (West Bund Art & Design, Shanghai, 2018), “Wonder Foto Day” (Songshan Cultural and Creative Park, Taipei, 2019), “The Aerial Actor” (Art Omi, New York, 2018), “Observe / Scrutinise / Perceive” (Gallery EXIT, Hong Kong, 2018), “Weighty Light” (Affordable Art Fair, Hong Kong, 2018), “from here to there” (Kunstquartier Bethanien, Berlin, 2016).

Lam’s image narratives are often composed of scenes and situations she encounters by chance, but also those that she both anticipates and manipulates. Her role as an image-maker is to create a situation that gives the audience a viewing experience, opens up a conversation with that which was captured, and generates new meaning. Lam looks at scenery in the city and inverts daily observations into moving images that depict the perception and reflection of seeing.