“Abjection is above all ambiguity. Because, while releasing a hold, it does not radically cut off the subject from what threatens it – on the contrary, abjection acknowledges it to be in perpetual danger. ” —- Julia Kristeva, Powers of Horror: An Essay on Abjection (1980)

Taken from government news clips, these images of the lighthouse were filmed some time between the 50s and 60s. Having accompanied us through the 1997 handover, the lighthouse still stands, unchanging against the river of time. Silently overseeing the ever-shifting waves, it remains ever-welcoming to those who come home.

「抑斥現象（abjection）首要在於它的含糊不明。因為，當放開束縛時，它並不微底地將主體與威脅它的東西切離開——相反，抑斥承認這些威脅物為永無止境的危險。」——茱莉亞 •克莉絲蒂娃，《恐怖的力量：論抑斥現象》(1980）

截於政府新聞片的燈塔，猜想是五、六十年代拍下的。跨過九七，燈塔依舊。燈塔同是一個身體，任由時間流過逐漸沉澱成生命的記憶或遺忘。看著多變浮移的海，迎回歸來的人。

Ellen Pau was born in Hong Kong and enrolled as a student of radiography at the Hong Kong Polytechnic University in 1982. She is a radiographer by profession, but being a professional radiologist didnot fulfil her creative obsessions with video art and media art. In 1984 Pau made her first film Glove, asuper-8mm artwork, which was screened internationally. She has since worked as an MTV director, cinematographer, video artist, curator, educator and arts administrator. Pau began her international career in 1995 at the Kwangiu Biennale in Korea curated by Kim Hon-Yee and Nam-June Paik. She is the co-founder and artistic director for the media art organization Videotage and has served as a member and curator of the organizing committee for the Microwave International Media Art Festival, Hong Kong since 1996. Pau teaches part-time at The University of Hong Kong, the Hong Kong Polytechnic University and the Hong Kong Academy of Performing Arts in addition to be a full-time medical image technologist. Pau is an advisor to the HK Museum of Art, the HK Arts Development Council and a number of festivals. She has exhibited in exhibitions including One World Exposition by Videotage and the Input/Output Gallery Relocation exhibition.