From her pool of automatic drawings turned into wooden fragments of her dreamwork, young artist Cherie Wong pulls out another two to form two new dialogues as image-text poems. An obsession with movement, or is it immobility? 王晴雯從她的木製「夢」碎片寶庫裡再掏出兩片，成了兩首圖文對話的詩，像彼此勾連，又似莫不相關。爬、行，卻是移動的衝動，徘徊的辯證。
To birthday boys and girls in October… It’s a month marked by monumentalism — 1st and 10th, Russia, China, KMT and more… Occupy our speaking space. Articulate. Another dialogue in poetry… 十月有人生日。別讓俄國革命、十一雙十的歷史碑誌重量大石壓死魚蝦蟹。我有我的說話空間，我有我的故事。發聲，接合。另一次雙人詩對。
10月10-25日在據點現場發生的即興展／演《音》，是句點成員黎仲民的又一次實驗。新冠狀病毒期間可以搞怎樣的展覽？聲音的表演和展覽可以如何結合？取來的素材，是黃竹坑時期的 FP1.0 表演的翻新，以及石硤尾年頭的 FP2.0的表演紀錄，那會產生的是甚麼新活動？On site on 10-25 October at Floating Projects, A U D I O, a pop-up, is another one of FPC member Andio Lai’s experimental events of impromptu nature. With raw material from performances of FP1.0 (Wong Chuk Hang) and FP2.0 (Shek Kip Mei) as they were documented in different formats, what would be the outcome of the integration of sound, performance and exhibition?
A videographer (Linda Lai) and a artist working on drawings (Jansen Law) in dialogue… The language of montage is invoked, contemplating time… The piece was Linda Lai’s spontaneous response to a few draft drawings Jamsen Law sent her, all from Law’s solo show, “No Details, Not Whole,” at Lumenvisum in September 2016.
「據點。句點」成員劉清華與動畫藝術家老師的近距互動，是一生的創作態度的啟發。FPC member Jess Lau’s close encounter with animation professor Tamas Waliczky induces life-long commitment to the question of what it means to be an artist.
The inter-play of present and past tense is deliberate in contemplating the nature of memory — the fixing of attention onto nit-bits of the chaotic ocean of the past. I am also influenced by moving image creation — every work being the negotiation between the present continuous of the camera at work and the “already-past” of its articulation. 現在進行式與過去式時態的交替共用是「不假思索」法」而來的必然對策，也是現象學的意識論的創作性延伸，在猶如汪洋大海混沌波濤翻滾的「過去」投擲零星的關注點，構成接點的「回憶」，以至構成可被陳述的「經驗」。
FPC members participated in an cross-ocean exchange of image and text with artists in Melbourne as the third and final episode of Elizaveta Maltseva’s curatorial project, in collaboration with the Melbourne-based literary journal Going Down Swinging. One year has passed since the show Return Flight: MEL <---->HKG met the public in Melbourne (August) and Hong Kong (September) respectively. This short video looks back on our exchange conversation. 《回程機：墨爾本<---->香港》18個兩地創作人的圖文交流轉眼已是一年前的事。存留的檔案為我們抓住了一些神髓。
From her 100 “fragments of fragmentary thoughts” inscribed onto painted wood pieces, Cherie Wong randomly picked two and started to open up their secrets. Cherie Wong 從她 100多塊「一個人的碎碎念」中隨機直覺的抽出兩小片來，打開它們隱藏的話匣子，聽它們娓娓道來。
「卡位埋邊」為據點藝術群體成員坐埋一檯，寫寫畫畫的筆記。第一個懸念 — 重回太平山。 陸續有來。”Booth” is a series run by members of the Floating Projects Collective, a documentation of their regular conversations through writing, scribbling, serious drawing and photography. First launched is an on-the-spot portrait of being at the tip of Victoria Peak.
好奇心驅使之下，Cherie Wong 讀佛洛依德的理論，希望能從心理分析、潛意識和夢中認識自己。答案雖然並沒有像劇本般理所當然地走出來，她卻找到另一個切入點去看這個問題。To understand how her personality was formed, Cherie Wong delved into Freudian concepts. Psychoanalysis, unconsciousness and dreams interpretation do not result in a clearer picture of who she is, and yet she landed on new artistic possibilities.