哲学的、科学的な視点を抽象的に解釈して、事の始まりを描いた実験映像作品である。哲学上の概念のエーテルや、太陽系の出現、生命の源となる海、そして私たち。太古と現在を行き来しながら、アーティストの空想による様々な創生の様子を描く。作品の中核を担う、赤い布は生命の根本的な臓器である心臓や、哺乳類の栄養源となる胎盤を暗示し、太鼓の演奏は生命のリズムである心拍音をなぞらえて空間に響かせた。設定となる白い明るい部屋、水の中のトンネルはアーティスト自身が昔から記憶する幼少期の記憶に基づいており、時空間に束縛されない設定で空想を繋ぐ。技術的には3DCGは一切用いず、すべて実写を取り込み、アニメーション技法で編集している。赤い布は被写体に過去から未来の時間を含めるslit-scan技法で回転させた。物質と生命の差とは、生きるとは？極大から極小の傍観と、過去から現在に至る記憶の光景に、アーティストが感じる生きる概念を詰め込んだ。
An experimental film to examine metaphysical conception of the beginning. The work embodies the philosophic and the scientific perceptions of materialization, expressed as various forms of origin. Additional to the conceptions, the scene is blended by artist’s indefinable memory represented as a white bright room and tunnel leading to a source of light. The screenplay crossovers between the reality and memory, generating a imagination unrestricted by plot and time.

The film consists various imaginary conceptions of the beginning such as , a birth of aether, a birth of sun, a birth of earth, and birth of life. Each segment is inserted after a flash, going back in time and coming back to present. Central to the work is a wine red fabric represented in a organic form, allowing the viewers to interpret their own explanation toward the element of life. The spinning motion is a metaphor toward common force of existence seen among micro-macro phenomena in our universe, musically scored with a Sufi-drum beat signifying a pulse; a rhythm of life.

Technical aspects of the film is composed without any 3D CG involved. Each elements have been shot with a camera and edited in the post production. The spinning figure is created using classical animation technique called slit-scan that enables an object to differentiate time inside a picture, resulting the spin by seeing past and future simultaneously.