The video comments on the materialization of the electronic images. A brief segment of a stage performance is endlessly repeated spatially and temporally. Human figures are drawing into, hiding behind and going through all these artificially reconstructed spaces, making them merely a reproducible animated structure. As a closed cycle of production and discourse, the electronic medium itself becomes the source of creation. During this boundless course of propagation, a woman is constantly falling onto the ground and finally disappears in between frames.

《借頭借路Ⅱ》由幾格錄像開始，重複再建構再改造而成的作品，帶有像徵意味地解放了電視框內框外，由一個台上台下台前台後的搜索，變成一種游離於框內框外的一種旅程。

Ellen Pau, born in Hong Kong, began her art career while studying radiography at Hong Kong Polytechnic University, creating her first experimental super-8 film, The Glove. She co-founded Videotage in 1986 and received the Asia Cultural Council Fellowship in 1992, creating Song of the Goddess in the U.S. Her international career launched at the 1995 Gwangju Biennale, followed by exhibitions at “City on the Move”, Asia Pacific Triennial, Shanghai Biennale and Taipei Biennale. Since 1996, she has been a director at the Microwave International Media Art Festival. At the 2001 Venice Biennale, she presented Recycling Cinema. Recent exhibitions include Awakening: Art in Society in Asia 1960s–1990s (2019) at the National Gallery Singapore, What About Home Affairs (2019) at Para-site and Shape of Light at M+ Facade (2022). Her works are held in collections of the Hong Kong Museum of Art, M+, and Griffith University. The Asia Art Archive launched her archive in 2023.