I had studied in the United States and grew up living on campus. As for me, the concept of 'dwelling' is contingent, ever-changing, without a permanent definition, which is just as nebulous as a mirage. Perhaps, this is why I am so mesmerized by the language of spatial relationships and the impact of architectural forms and structures on the psychological changes of the human environment. Photography plays an important role during this period, and the photographs are something I always carry with me. It is a record of my memories of the environment, my grown-up journey, and my experience. I enjoy documenting these visual memories in the form of photographs, especially through film. As I constantly change my place of residence, my definition of home is constantly wavering between the 'past' and the 'present'. The creation of 'The Mirage' started last year in early 2020 during the beginning of the pandemic. I traveled and photographed three locations: Boston, USA; Shanghai, China; and Ningbo, China. During the creation of 'The Mirage', I allowed myself to analyze my past and present architecture. At the same time, I personally thought about the nature of 'the dwelling place'. I first cut and recombined the images, and broke space, light, and direction. Afterward, I printed the images on poster paper, cropped and re-collaged them, and constructed sculptural planes of various heights and angles out of foam panels, reinterpreting and transforming the hybrid structure of the building. Indeed, the integration of disturbed space, light, and direction helped create a sense of dislocation for the viewers, and demonstrated a delicate interplay between two- and three-dimensional spaces. Finally, I positioned the camera correctly to repeatedly photograph the new 'dwelling place' from different angles.