“Those called fiction are partially documented. Those called documents also have some fictitious parts.” We made a day to visit the green lake together. In that burning afternoon. I document things for a private record, also for making up this re-jamming section of us. Fragments of over-exposed, out of focus film were produced without a purpose. Then they were seamed together by another chance. All of these probably are merely a reminder of our right of being self-indulgent.

This work was made for the memory of a friend who has passed on. Structured by his poem, with stray fragments like diary films, visitings of ruins, and semi-improv theater, fabricating a souvenir of a faraway memory. The things you should commemorate are the “memento mori” of yours. Meanwhile, in the center of thousand layers of Absolute Terror Field, a maiden is still praying. Covered by a magic circle, someone prays in a basement that no one could reach. In The Desolated Temple, in Ohtori Academy, or other imaginary communities of ours. From its garden, the garbage trunk is singing “A Maiden’s Prayer”…

「虛構的事物都有記錄的成份，標榜真實的都有虛構的部分」，而記錄的目的是為了虛構再jam的方式。我們在一個難以忍受的熱天相約，去青潭觀水相。失焦過曝的膠卷碎片沒有目的地被產出，又因為某種偶然被縫在一起。這些，可能是為了記得我們應有的耽溺的權力。

這是一部為了朋友的驟世而製作的作品。以已逝詩人的詩作為主軸，使用日記電影，廢墟探訪，與即興架構的半戲劇場景為素材，由斷簡殘篇編織出遠方記憶的紀念物。該紀念的東西，都是你的memento mori。但同時，在重重AT力場的煙霧包圍中，少女還是一直在祈禱。某處，沒有人能進入的地下室，有人在祈禱。蘭若寺、鳳學園，或是其他我們用想像建構的社區中，傳來呼叫廣播，垃圾車傳來了少女的祈禱…