在中國古代，人們以鯉魚形狀的木盒作為信封，用來盛裝書信，因此信件被稱作「魚書」，而通信也稱

為「魚雁往返」。藝術家援用了古詩《飲馬長城窟行》中

「客從遠方來，遺我雙鯉魚。呼兒烹鯉魚，中

有尺素書」的句子，將其中對於書信所蘊含的思念意涵，投注在魚的造型上——兩座如展開的魚鰭造

型，結合了透明布幔，再透過變幻無窮的數位色光投射，創造出令人驚艶的抽象形體，彷彿雙魚扭身相

互對話般的詩意與飄逸。

作品浮動於水面所反射出的倒影與色光，形成虛實並置的完整圓形，在晚風中徐徐擺動，時刻變化的輕盈造型，呼應的是期待相約的浪漫懷想。

In ancient China, people used carp-shaped wooden boxes as envelopes to hold letters. The letters were therefore called "fish books" and the correspondence "the return of the fish and geese." Adopting the idea in an ancient poem "The Great Wall of the Dying Horse" that "a dear friend visited and left me two carps; while my son was about to cook the fish, two letters were discovered inside them," the artist reflected the deep and lasting love for the beloved on the shape of fish - two spreading fins, decorated with a transparent cloth mantle along with colorful digital light projection, the sculpture represents an amazing and poetic image of two elegant fishes turning their bodies to each other to have a dialogue.

The reflection and light reflected by the floating sculpture form a complete circle of virtual reality and juxtaposition on the water. Slightly swinging in the evening breeze and changing its look momentarily, the light and graceful shape of the sculpture, echoes the romantic feeling of nostalgia in the air.