Artist Lin Ying-Hsuan’s father works on construction sites, measuring physical distances, smoothing concrete, and laying tiles with precision. Growing up surrounded by fields, Lin felt increasingly unsettled by the city during his studies—the expansive natural hues of his childhood were gradually partitioned into box-like buildings. He labors in an artistic way: after drafting sketches on the computer, he repeatedly sands the canvas until smooth, using bodily movement to guide his thinking. One day, he discovered that using a plastic scraper to apply paint could eliminate brushstrokes altogether. This awakened childhood memories of watching his father handle smooth, flat tiles. The saturated colors in his works echo the interface-like quality of the RGB color model on digital screens. Through a kind of “coloring-in” game, Lin found a way to reconcile himself with the real world. Yet our understanding of virtual technology seems to drift in a labyrinth of “return,” where it is hard to distinguish the starting point from the end.