Memory is a formless existence, lacking physicality and space, yet it resides vividly within the human brain. Time serves as the medium of memory, simultaneously a solvent. When you look back at the journey of life, memories, a blend of reality and falsehood, often drive you to madness and confusion. As I recall bits and pieces of my childhood, memories resurface intermittently, sometimes vividly and sometimes fading into obscurity.
"Hippocampus" narrates the oscillation of memories between reality and illusion, existing within our brains and bodies like shadowy companions. The shadow of memory changes over time, sometimes clear and sometimes blurry, but the one constant is my inability to touch it. The net, symbolizing space, becomes a window to the past—a node between families in the childhood village. The threads detached from the net represent time's cruelty to memories. As these threads gradually form page after page of images, the shadows hanging on the wall become my most cherished memories.
The net embodies the concept of the "present." Viewers cannot see the patterns on the net; they must rely on the shadows produced by light projected onto the net to perceive the images crafted on it. Through the projection of light, memories resurface in the heart. However, time cannot be reversed. Like the shadows on the wall, they are visible but unreachable. The life in the childhood village is no more; these memories fade gradually over time. Although there is a sense of regret, these shattered memories are warm and sparkling.

《海馬迴》敘述的是在真實與虛幻中游移的記憶，而這個真實與虛幻就在我們的大腦和身體裡，像是影子般的跟隨著，記憶的影子隨著時間產生了變化時而清晰時而模糊，但唯一不變的是我永遠無法碰觸它，紗網做為一個空間的符號，是一扇過去的窗，是兒時居住的眷村裡每一個家庭之間的節點，紗網上被抽離的紗線，便是時間對於記憶的殘酷，當被抽離的紗線逐漸形成一頁又一頁的圖像時，懸掛在牆上的影子便成為我最掛念的回憶。

紗網被賦予「當下」的概念，觀者無法從正面看到被抽離的圖案，必須依循光的角度將視覺投往紗網背後的影子，才能從中看到儲存在記憶裡的「過去」，藉由光的觸動，記憶再次的浮現在心中，但時間終究無法回頭，如同投映在牆上的影子的看得見卻觸摸不到。