Maybe the so called “truth” has been semi-eternally occupied by “reality”, which is encrusted with a certain sense of massiveness. Being formed by curves and enclosures similar to the oral ones, those streamlined white islets are themselves embodiments of the surface tension against the ubiquitous looming shadow; such tensions are like those in the depictions of life stages in biographies, positioned and rooted among the unsettling flow of time, from which all respective relations are mapped out. The mutating bone-like objects are like image sensors detecting and being loaded with the dark and bright, transfiguring them; they lightly hold up this reality pervasive as air, meticulously redefine and reterritorialize life scenes. “The Confession of Absolute Zero” means a lifestyle and practice of dissolving habitual perspective and one-sided appreciation. Disparate curves and glides hollow the reality and they turns out to be a perfectly clear cell, sprouting from endless gloom. The true contour of a life changes along the dark and bright, moving faintly yet indeed revealing their dialectical character.