作品以河面的錄像作為展場的過道與入口，將河流轉化為一個需要穿越的空間界面。雙面投影膜既區隔展場不同的空間，也維持了視線與光線的流動，使河面介於影像、物件與建築之間，形成一個持續變化的觀看邊界。

觀者在進入展場的過程中，必須穿越投影形成的河面。當身體接近、停留與通過時，影子自然映入影像之中，使觀看不再停留於影像之外，而是在移動的過程中逐漸進入其中。身體、光線與河面的流動彼此重疊，觀看也隨著穿越的動作不斷被重新組織。

作品並未試圖再現一段特定的河流經驗，而是將「渡河」轉化為一種空間性的觀看方式。河流不再只是被觀看的風景，而成為一個連結展場、身體與影像的介面，使觀者在穿越的過程中重新感知自身與空間之間的關係。


Enter the River positions the moving image of a river’s surface as the threshold to the exhibition, transforming the river into a spatial interface that must be crossed. A suspended double-sided projection screen simultaneously divides and connects the exhibition space, allowing light, image, and movement to remain permeable. Situated between architecture, object, and moving image, the projected river becomes a shifting boundary through which perception is continuously negotiated.

As viewers enter the exhibition, they pass directly through the projected image. Their shadows are inevitably cast onto the moving surface, drawing their bodies into the work through the simple act of crossing. Looking no longer takes place from a distance; instead, perception unfolds through movement, as body, light, and the flow of the river momentarily occupy the same visual field.

Rather than representing a particular river, the installation considers crossing as a spatial mode of viewing. The river ceases to function as a landscape observed from afar and instead becomes an interface that connects image, architecture, and bodily navigation. Through the act of passing, viewers become momentarily situated within the work, where perception is shaped through movement rather than observation alone.