去年九月，劉清華抵達台灣伴著她的是手提的五公斤的箱子。裡面的翻拍臺是十四天閉關創作的夥伴。Last September, Jess Lau arrived in Taipei with her 5kg tool-box, her only companion in a 14-day quarantine retreat. Together, they completed a new stop-motion animation piece.
眼前的一切像多年的堆積，與之共存的是看不見的已被拆毀的家族過去的小節的餘韻。說到家族，也不是家國大族的堂煌，而是一張具體的網，連接、輸送、維繫，有個物理的據點。據點藝術家劉清華的「田野」訪談，拖出了「生存」的問題。如何活？我們如何從過去走到當下？過去的可以延伸下去，因為我們記得，而且還（用方法）記住。A community art project opens the door to a street of rich family stories in To Kwa Wan (Kowloon) for FP artist Jess Lau, thus also an old family story she has not dared to touch until now. Unlike tycoon stories of a growing empire, ordinary family stories are full of “holes” irreparable yet holding together those who refuse to forget.
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。
「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.
FPC dialogues… Jess Lau wrote a poem and shared it with Linda Lai, who wrote a poem in response. The exchange develops into that of images. 劉清華隨心寫了一首詩，分享了給黎肖嫻。黎回了另一首詩。後來這個對話由文字推至圖像。
In January 2020, FP artist Jess Lau took residency in Kyoto; in the three months she spent there, she finally found the time and space to realize a much awaited work on a river, and made The Cinema of Walking: Airship on the Kamo River, to her, a unique glimpse of freedom. 2020年1月 Jess 到京都駐留三個月，有機會到訪鴨川，突然可以做關於河川的作品，《步行電影院：飛翔的氣球》遠距離一口氣完成拍攝，劉清華看著路人一步一步踏過跳石，片刻看到自由的模樣。…
Quotidian Diversions – Kin-choi Lam’s drawing series on HK to launch on Floating Teatime’s “Personally Speaking” 4 June 2020: 6 groups of drawings in 6 weeks on Thursdays 林建才手繪連載：「流水革命10月天」六月四日起每周四連載共六輯。
9 FPC artists stretch the possibilities of the moving image — the projecting apparatus, the projected image, the moving and projecting processes, projected surfaces, how and where… 九位「據點。句點」藝術家心目中的活動影像的膨脹性、膨脹度是怎樣的？他們多方對策：投影的器具、所投的影像何來、成像的過程、展示影像的「面」…
FP member Kelvin Lam’s “castle on rainy days” and Jess Lau’s “pirates’ boat,” “extreme environments” and “ET arriving” mark many HK children’s fantasy play with space or the lack of it. To reproduce these childhood experiences in FP WIP opening 20 Nov 2016, what are they going to show us?