感知生命的輕重與變化是從空無一人的房間開始的，被行動力支配的我們和袋中行動受限的魚是同樣的不自由。晃動吊燈下，袋中的魚看似平靜並未受環境影響，也難怪，若非當局者該從何明白那心中的風暴及揮之不去的暈眩。
如果將手套比作行動力，那麼白手套便是起步時單純的動機，隨著環境、時間的推進，參雜不可抗的外在因素，蒙上雜亂。多數的灰讓白無立足之地，沈重的惰性總是可以輕易壓制想付出行動的念頭，但這不足以妨礙其他白的出現支撐靈魂連同被抹去的時間，意指一些變化正在發生，自身能量正在萌芽，卻仍迷失對於「時間感」的掌控，時空貌似呈現膠著，停滯不前，分秒都被走慢。
反覆畫著黃金比例（錯對/美醜)，追求理想的過程中不斷的自我否定是難以避免的，一方面遵循規範一方面又不甘於如此，這樣的循環讓人感到無止盡的壓迫，髒掉的手套被四面八方拉扯，已經無法回到當初那樣純粹，涵括一路走來的掙扎，進與退的拉扯。
桌上的空塑膠袋，流向桌腳的水，是魚的解脫。
C’est La Vie 是一個置身於混亂和動盪，從中習得與自我的共存、和解，迎接下一個挑戰的過程。
Perceiving the weight and changes of life begins in an empty room. We,
governed by forces of action, are unfree as the fish confined within a bag.
Under the swaying light, the fish in the bag appear serene, seemingly
unaffected by their surroundings. It's no wonder that those not directly
involved struggle to grasp the storms and lingering dizziness within. If gloves
represent our active, then white gloves symbolize the pure motive at the
extrinxic factor. However, as time goes by and environment progress, they
become muddled with uncontrollable external factors. The majority of gray
prevents the white from standing firm. The heavy inertia easily suppresses
thoughts of action, yet this doesn't hinder other whites from appearing to
support the soul, along with the erased time, changes are taking place,
energies budding, yet still lost in the grasp of "time sense". The space-time
appears stagnant, seconds drawn out. The pursuit of ideals, amid repetitive
comparisons (right/wrong, beauty/ugliness), inevitably leads to self-doubt.
This cycle, oscillating between conforming and resisting, feels endlessly
oppressive. The soiled gloves, pulled in all directions, can never return to their
initial purity, encompassing the struggles of progress and regress. The empty
plastic bag
on the table, water flowing towards its base, symbolizes the fish’s liberaton.
