"Humans construct buildings, buildings construct cities; cities cut through the light, and the light cuts through humanity."

In contrast to the traditional guiding principle of lighting designers who focus on "sculpting the body" when approaching dance works, the lighting design for Visible and Invisible attempts to prioritize "spatial construction" as its primary design philosophy. By utilizing the penetrability and projection of light, it becomes the "building material" for constructing a simulated space, rather than merely a tool for illuminating the dancers. It not only treats the theatrical space as an environment for physical expression but actively attempts to create a highly symbolic "field". 

The design concept of "cutting" primarily stems from the relationship between nature and the city. The massive shadows created by towering skyscrapers blocking the light act like sharp blades slicing through the city, and the citizens living within are consequently carved into all sorts of shapes. To express the unique angular lines of light and shadow found in the city, I decided during the conceptualization phase to use the unique properties of theatrical fixtures to shape the light sources into various "rectangles" as the primary lighting technique. This simultaneously confines the dancers' movement space, conveying a subtle sense of restriction. The giant cone-shaped light beams projected onto the stage symbolize the city's densely packed buildings, which, accompanied by inverted black sharp angles, interweave to create a chilling atmosphere. 

Furthermore, I boldly chose "red" as a dominant symbol throughout the dance piece. It symbolizes the shroud of oppressive power while reflecting the surging rebellious emotions within the crowd; it is the blood after a riot, and it also represents resilient vitality. The imagery of red light occasionally wrapping around the dancers' bodies and at other times roaming across stage installations serves as a metaphor for the endless conflict between "evolution and reflection" in the city. At the finale of the piece, "red" blankets the entire stage, as if signifying the alternating cycle between the two—an inescapable destiny for both the city and humanity.