我将找到的两种折纸玫瑰的方法（尖锐的玫瑰/柔美的玫瑰）剪辑层叠在一起，在图像的摩擦、覆盖、穿插、扭动之中，两种原本相异的事物观在彼此咬合。在手和折纸那种仿佛无尽的动作中，旁白探讨思想如何以爱为名干预他者按照规训而缓慢地将自我塑造成为一个美的范本、一种标准意义上的象征物。
在观察这些折花教程的时候，手指对于（纸玫瑰）花心的搅动曾經使我感到一股即时的颤栗，就像一个持续的强硬的句子，我想到的不仅仅是花卉，还有别的事物。前几个月，我在斯拉沃热 · 齐泽克所著《自由的深渊》书里读到一段描写两个画家的民调实验。他们分别作了“最好的”和“最坏的” 两幅画。据形容，那幅“最坏的画”是一种尖三角和广场的抽象构图，用的是康定斯基使用的大红和黄色；而那幅“最好的画”则呈现一种田园诗般的背景，用的是清澈的蓝色和绿色，配上华盛顿穿过它在河边散步，及一个像鹿一样的小动物羞怯地从树林中注视着他的图像。
问题是：什么是——最好的，最坏的；最近的，最远的？
I layered and intercut two methods for folding origami roses—the sharp rose and the gentle rose. In the friction, overlay, interweaving, and twisting of images, two originally divergent perspectives interlock. Amidst the seemingly endless movements of hands folding paper, the voiceover explores how thought, in the name of love, intervenes in the slow process by which the other, molded by discipline, shapes itself into a model of beauty, a symbol in the normative sense.
While observing these origami tutorials, the fingers stirring the heart of the paper rose sent a sudden shudder through me—like a persistent, forceful sentence. I thought not only of flowers, but of other things. Months ago, I read in Slavoj Zizek's The Abyss of Freedom about a poll experiment involving two painters. They each produced two paintings: "the best" and "the worst." The "worst" painting was described as an abstract composition of sharp triangles and squares, rendered in the bold reds and yellows of Kandinsky. The "best" painting presented an idyllic scene, bathed in clear blues and greens, featuring Washington strolling beside a river, with a shy, deer-like creature gazing at him from the woods.
The question: What is—the exemplary, the monstrous; the closest, the farthest?