I started working on 10 Minutes Left in 2007. In the 2007 version 10 Minutes Left, I had my family to stay in the family house and recorded a series of still photographs as slit-scan video. The images which seem to capture the moments are in fact compressed from a ten-minute video. The transition between light and shadow as well as how the objects are moved around in the space has left some noise-like traces in the images. The work thus establishes the depth of the scene by highlighting the contrast between the traces of the movements and the clear images of the photographed figures who remain unmoved.

      The version in 2012 further demonstrates the distance between the perceived world and the material one. I randomly selected some passengers on the street, asking them to stand in front of the camera for ten minutes. I asked them to count down without speaking out, and after they counted ten minutes they should just go away from the camera. The duration of the video is also ten minutes, but each one stays in the video for different lengths of time.

      The 10 Minutes Left presents a sense of eternality which will be fullfilled through the “gaze.” Meanwhile, it also reveals the subtle vibration of the bodies perceived with the passing of time, and the dissolving quality of the digital images – which create a contrast to the eternal gaze.