指向同一时空坐标的影像，哪一个是对真实瞬间的复现？奔流的河水被截取、封存，被浸没于纯净水中，彼此在视觉上已无从分辨。我试图建构一种“无差异”的观看，在河水影像与样本的视觉高度统一中，暴露经验认知根基处的错愕与怀疑。

作品的行为机制架构，源于对“唯一时刻”的执念。快门释放、数据记录、样本封存，每一步都力求精确与同步。然而正是这种精心架构的记录行为，一次次指向它自身的徒劳——图像的丰富无法复现流动的真实；水样的纯粹无法代表其时空唯一性。

《一块河水 II：无以复现》延续了我对时间截取与图像观看机制的长期思考。作品并不试图建立一种更精准的观看方式，相反，它通过一套由错位、伪证、重复与视觉欺骗构成的系统，不断使观看者陷入对“真实”的质疑之中。

Selecting nine rivers in Beijing as objects, I positioned three cameras—each with correct exposure but different parameters—across the rivers, their shutters triggered simultaneously to capture three images of "this moment" in the rivers' flow.

As the shutter is triggered, river water is collected; wind speed, temperature, and humidity are simultaneously recorded. The collected water is filtered and sealed by the riverside. Organisms caught in the filter are returned to the river; the filtered water serves as a material archive of that specific spatiotemporal coordinate.

The filtered river water is sealed within layered, compartmentalized glass tubes: the upper parts hold the filtered water, while the lower parts remain open to pure water. Encased in this glass vessel, the river sample is surrounded by pure water and immersed in a black basin. When the control button is pressed, the filtered water emerges from the pure water. At that moment, three images of this river water, along with their shooting parameters, are revealed.

Three images, all referring to the same spatiotemporal coordinate—yet which one truly reproduces the real moment? The rushing river is captured, sealed, and immersed in pure water—until, visually, they become indistinguishable. I attempt to construct a mode of viewing without differentiation—in the seamless visual unity of river image and water sample, exposing the profound doubt at the root of empirical cognition.

This work’s behavioral mechanism stems from an obsession with the "unique moment." Shutter release, data recording, sample preservation—each step pursues precision and simultaneity. Yet it is precisely this meticulously constructed act of recording that repeatedly reveals its own futility: the richness of the image cannot reproduce flowing reality; the purity of the sample cannot represent its unique moment in space and time.

A Block of River Water II: Unreproducible continues my ongoing inquiry into the interception of time and the mechanisms of image perception. Rather than seeking more accurate ways of seeing, this work constructs a system of dislocation, false evidence, repetition, and visual deception—repeatedly drawing viewers into questioning what constitutes reality.