In 2017, Liu Yujia travelled to Koh Larn Island near Pattaya, Thailand, and focused her attention on a wanderer living there. In her simple video narrative, the wanderer's miraculous experience is an allegory of the beach. Like the scenery in W.J.T. Mitchell's eyes, the beach is not just the object of fetishism; it is rather a socio-political organism. It is a free zone of self-exile, and at the same time, it might also become a prohibited area because of the regulations; as an existing place in capitalistic reality, it is a place for consumers. The beach is both an incarnation of modernity and contains a strong anti-modernity sense at the same time. Liu Yujia has inadvertently written a cultural history or geography of the beach; what she truly cares about is how it is shaped into a new geographical structure and perceptual method when we attempt to weave it into a new narrative. Here, the beach is a metaphor for frontiers, borders, and geopolitics. It also transcends existing definitions and grows into a new aesthetic medium and imaginative mechanism.
2017年年初，劉雨佳來到泰國芭堤雅附近的柯蘭島，目光卻聚焦在一個落魄的流浪漢身上。在她樸素的影像敘述中，流浪漢傳奇的經歷就是一部海灘的寓言。和W.J.T · 米歇爾（W.J.T.Mitchell）眼中的風景一樣，海灘並非只是拜物教的對象，本身即是一個複雜的政治社會機體。它是一個放逐自我的自由地帶，而同時，因為禁令，它也可能會成為一個被規制的區域；因為資本，它又常常是一個消費與被消費的空間。它既是一個現代性的化身，同時又內含著強烈的反現代性。身處在碰撞、交融、衝突和斷裂的全球化時代，劉雨佳無意書寫一部海灘的文化史或地理志，她真正關心的是，當我們嘗試將其重新編織為一部新的敘事的時候，它是如何被形塑為一個新的地緣結構和感知方式。就像魯濱遜發現海灘上腳印的那一刻，它不僅帶來了驚訝與恐懼，同時也激發了人的智慧和想像。在這裡，海灘既是邊境、邊疆和地緣政治的隱喻，同時也已超越了其既有的定義而生長為一種新的審美介質和想像機制。
