Opening the work cabinet, with small round bottles filling the space, and splashed oil stains on the transparent partition, I select three colours at random and begin to paint aimlessly on the canvas.

This light brown hue is very familiar, like the eyeshadow that I prepared for the client yesterday. And the blush? By lightening the pink in front of me by two shades, it will resemble the rouge she had on her cheeks, and bring back some of the vitality that came to such an abrupt end. Looking at her old photos, she doesn’t seem to be a fan of bright lip colours. Will you like this nude matte oil? Her originally plump cheeks were shattered by the blow and while the wound can be filled and stitched back, it’s now too late to get a reasonable answer to her last question in life.

I used the canvas to memorise her appearance, before placing it on the nearly crowded file rack with all the familiar and unfamiliar faces. Hope they will be forever remembered by those who cherish them.

You probably have to walk some roads to really understand.

Where we stand and the position we take very often depends on what we choose to see and hear, which form the basis of our opinions and perspectives. In our “Monologue Series” we freeze the frame of a window for a moment in time. How much truth of the full picture can outsiders see from a mere few seconds?

拉開工作櫃，矮圓小瓶佔滿抽屜，濺出的油彩玷污了本來透明的間隔，拿起油跡斑斑的調色盤，隨手選了三種顏料，開始在畫布上漫無目的地塗繪着。

這種淡啡色很眼熟，類近昨日為客人調配的眼影，腮紅呢？把眼前的粉紅減淡兩度，大概就是她臉上的豆沙粉胭脂，試圖把戛然而止的活力搶回來。看舊照，她好像不特別熱衷鮮豔唇色，這種裸色霧面油彩會喜歡嗎？本來豐潤的雙頰被重擊破碎，傷口可以縫補、凹陷可以填充，她對生命最後的提問卻來不及獲給予合理的解答。

我用畫布記住了她的容貌，擺到快擠滿的文件架裡，一張張熟悉又陌生的人臉，多渴望被珍視的人畢生銘記。

有些路，大概你要走過才明白。

人們所採取的立場大多視乎選擇聽見了甚麼、看到了甚麼，所謂觀點與角度，也基於這條件而生。「獨白系列」所呈現的瞬間畫面，在不加時間推進的助證下，局外人所看到的數秒定格究竟佔據了事實的多少？