Traces, the passage of living beings across time, the countless journeys of sugarcane train marks pressed by tracks into the land. Not only are these, evidence of transitions through physical space, but also allegories of growth and decline. Regarding a retrospective study of colonial history, Taiwan’s sugar production, ever destined for foreign shores, forms a historical trajectory in lines of outward disperse. This work is an attempt to create new trajectories of sugar. If friction is essential to traces, what does the aesthetics of joint force between the poetics and spectacle of cinema look like? The nature of traces allows interaction and recollection which becomes a form of building from friction correspondence and conversation. Through “soft montage” which represents moving images associated with the ontology of sugar in Taiwan. These images retrace the impetus of sugar production, drawing metaphorical parallels to the female experience. Thus, these humble marks are reminders that history is shaped not just by the grand narrative, but also by the lives, daily routines, and transitions experienced by ordinary people in all walks of life.

As time passes, history echoes in present tense.

Traces, there will be no intermission.