Rooted in Buddhist philosophy, the recurring "卍" character, a symbol of peace in Buddhism, creates a striking contrast with the grotesque depiction of flesh and organs. After inspecting the artwork "The pleasure of Being, Crying, Dying and Eating" in the National Gallery, it raised a question: each artwork in the National gallery is accompanied by a statement, however many of these statements are not penned by the artists themselves. This raises an intriguing question: If every artwork requires a statement to elucidate its meaning, doesn't that make the statement an integral part of the artwork as well? In this artwork, I aim to test this hypothesis by deliberately not assigning any inherent meaning to the artwork itself. Instead, I invite the viewers to construct their own interpretations through their imagination.

At the heart of the artwork lies the letter "i" representing the imaginary unit in mathematics -a concept that transcends the boundaries of the "real." Here, it embodies the Buddhist notion of 'śūnyatā' (emptiness), signifying the inseparability of form and void. This artwork is not a definitive answer but rather a gateway. I hope that it would prompt the viewer to embrace the paradox: to perceive this piece of artwork using the perspectives of sovereign and spectral, real and imaginary, grounded in the cycles of existence yet limitless in potential. In this space, meaning is not static—it is a contemplation, a question breathed into form.