The concept of "the here and now" in photography injects a unique charm into this art medium, setting it apart from the rest. However, "staged photography" based on memories, essentially akin to painting, should be more appropriately termed "imagery." Despite this, we still yearn for imagery to possess a production quality similar to photographs, as we are obsessed with the credibility of photos, believing that imagery, which comes infinitely close to "photography," should have the same magical fidelity to facts, ensuring its eternal preservation. Nevertheless, imagery is ultimately not strictly photography in the truest sense; it is more like a reshaped, customized scenario memory, presented in a poetic and camouflaged manner, and we delude ourselves into believing that it can endure forever.

In this autobiographical imagery project, uniforms customized with luminescent materials serve as the sole source of light in the photographs. The light paints out a segment of our past, allowing memories to gradually develop in the darkness. At this moment, although we still use the term "photography" to categorize these works, they no longer fall under the traditional photography category of "documentation" but instead resemble a memory-based "commemoration" ritual.

摄影的“此时此刻”的概念为这个艺术媒介注入了独特的魅力，使其与众不同。而基于回忆的“摆拍摄影”本质上和绘画应该一样，应该更合适地被称为影像。尽管如此，我们仍然渴望影像能够具备与照片相似的制作质量，因为我们沉迷于照片的可信度，相信无限接近“摄影”的影像应该和照片一样具有忠实于事实的魔力，可以永存不朽。然而，影像终究不是严格意义上的摄影，它更像是一种重新塑造的定制情景记忆，以诗意和伪装的方式呈现，我们也在自欺欺人地相信它可以永远留存。

在这个自传式影像项目中，用发光材料定制的制服是照片中唯一的光源，它勾勒出我们过去的一段场景，它让记忆在黑暗的空间里逐渐显影。此时，尽管我们仍然使用“摄影”这个词汇来分类这些作品，但它们已经不再是传统摄影的“记录”范畴，而更像是一种基于回忆的“纪念”仪式。