This work is a site-specific installation made from a larger archive of over 1,700 landscape photographs taken between March 2023 and June 2025. All images are centered on the Lai Chi Vun shipyards in Macau and are taken from a fixed point across the water in Hengqin. Each photograph is framed the same way, in portrait orientation, with a high horizon dividing land, water, and sky. The shipyards appear small in the frame, as skeletal structures within a wider landscape of hills, tides, and changing light.

The project began as a way to track change over time. By keeping the camera in the same place, I remove differences in angle and framing so that change comes only from the environment. Time becomes the primary variable from image to image, seen in changes to the water level, the weather, and the slow growth of the mangroves, while the horizon anchors each image. The view across the water is not only practical. It keeps the subject at a distance. This distance reflects my position as someone looking at a place where I have lived for so long, but do not fully belong.

The viewer sees a set of still images and may dwell on a single moment or move on when they choose. In this installation, a selection of these photographs is shown in a dense arrangement without a fixed order. Viewers move between images and compare one moment to another. Each photograph matters less on its own than in relation to the others.

The work is rooted in landscape tradition, where images place the viewer in relation to the land. Here, that position is fixed at a distance. As viewers move through the installation, they compare changes in the landscape while also becoming aware of their own position. The work asks them to consider where they stand, how that affects what they see, and how a sense of belonging takes shape or does not.