The original form and its metamorphosis are often as opposed as this and the other. The snake does not look like a man, and so it is often said that the snake transforms into a man after its training, but one does not hear of a snake becoming another snake, for it is difficult for a man to distinguish between the other snake and this snake and to know whether the snake has metamorphosed or not.
But the snake looks like time, and although this moment is different from the other, the present and the past are often reversed, and time meanders, as when the hunchbacked man seeks the snake to lead the way, and the man follows the snake's trail, taking twists and turns, the man only wanting to go home, the snake only waiting for the man to show itself.
The scene becomes an imitation darkroom where only the assumed safety of light can travel. During the performance, a simulated photo development process is projected on a curtain together with a fictional story, reflecting/reflecting/contrasting the other moment with the other.
原形与其变形，往往如同 此与彼 一般对立，蛇看起来并不像人，于是常有人说蛇修行之后变形成人，却没听人说一条蛇变成另一条蛇，因为人很难区分彼蛇和此蛇，不知道蛇有没有变形。
但蛇看起来像时间，虽然此一时不同于彼一时，但今时与往日经常反串，时间迂回，如同驼背的人找蛇带路，人尾随蛇迹，走曲折弯路，人只想回家，蛇只等人现原形。
现场会成为一间 仿造的暗房，只有 假设的安全光 可以传播。表演中，会把 模拟的照片冲洗过程 与一个 虚构的故事，一起投影在幕布上，由彼一时映照/反照/对照此一时。
关于艺术家
董龙跃
由于用语言描述创作常多过创作，于是创作上也就蒙了半人高的语言的菌丝，里面创作的语法也指点着树皮上语言的长法。最后这两个东西看起来就分不大清了，但好像能说清，也大概吃得出来。
