The extreme tides of the River Thames incessantly cast industrial debris and nautical driftwood onto the foreshore. These timbers suspend during the flood tide and become entrenched in the mudflats by natural tension as the water recedes—a cyclic ritual of constant displacement.

Utilizing "submergence" as a central imagery, the work attempts to recalibrate the temporal scale of tidal shifts into the verticality of the wall. By rendering the "tangible" through the "void," I seek to trace the surge of the Thames as it ascends from a low tide of 1.3 meters to a peak of 5.7 meters, until the entire field of vision is consumed. This process is less a depiction of natural force than a metaphorical measurement of the folds between time and space.

As an "untameable" force, the river exists beyond the constraints of singular ideologies or administrative structures. It remains both a vessel of industrial history and a silent witness to the flux of matter within the currents of globalization. These timbers, weathered into fossil-like remnants, serve as both historical traces and the progeny of the entanglement between nature and human agency. By reconfiguring and embedding these fragments into the wall, the work strives to construct a visual field of "flux" and "oblivion," interrogating the state of human existence caught between natural and non-natural forces.

泰晤士河的极端潮汐将工业残骸与船只浮木反复抛向河滩。这些木头在涨潮时漂浮、游移，又在退潮的自然张力中被深嵌于泥滩，周而复始地经历着物理层面的“位移”。

作品以“淹没”为核心意象，试图将潮汐的时间尺度转化为垂直墙面的高度刻度。通过这种以虚写实的方式，我试图捕捉河流从低潮点 1.3 米涨至最高点 5.7 米的涌动过程，直至视觉感知被彻底吞没。这不仅是对自然伟力的具象化呈现，更是对时间与空间褶皱的一次隐喻性测量。

河流作为一种“难以驯服”的异质力量，始终逸出于单一意识形态或管理结构的掌控之外。作为全球化浪潮中物质流动的见证者，泰晤士河承载着沉重的工业叙事。这些被打磨如化石般的木头，既是历史的残片，也是自然规律与人类活动交叠的物证。通过将这些木头重新置入并嵌入墙体，我试图构建一个关于“流动”与“消遁”的视觉场域，以此追问：在被自然与非自然力量共同裹挟的当下，个体的存在究竟处于何种状态。