A haunting allegory of memory, metaphysics, and cinema, the work transcends the sociological, theoretical, and formal conventions of cinematic practice with specific challenges addressing linearity, the authority or the uni-directional method of viewing. Opening the seams of conventional film production, the work plays with the process, method, and social constructions related to the narrative and the act of viewing. Exhibited in the Hong Kong-China participation in the 49th Venice Biennale.

Ellen Pau, born in Hong Kong, began her art career while studying radiography at Hong Kong Polytechnic University, creating her first experimental super-8 film, The Glove. She co-founded Videotage in 1986 and received the Asia Cultural Council Fellowship in 1992, creating Song of the Goddess in the U.S. Her international career launched at the 1995 Gwangju Biennale, followed by exhibitions at “City on the Move”, Asia Pacific Triennial, Shanghai Biennale and Taipei Biennale. Since 1996, she has been a director at the Microwave International Media Art Festival. At the 2001 Venice Biennale, she presented Recycling Cinema. Recent exhibitions include Awakening: Art in Society in Asia 1960s–1990s (2019) at the National Gallery Singapore, What About Home Affairs (2019) at Para-site and Shape of Light at M+ Facade (2022). Her works are held in collections of the Hong Kong Museum of Art, M+, and Griffith University. The Asia Art Archive launched her archive in 2023.