This work originates from my reflections on language and vocabulary. It interprets the polysemy of English words from the perspective of a non-native speaker and anthropomorphizes non-living entities, allowing individuals to connect, extend, and empathize with their surroundings. Through this process, it seeks to realize a more diverse and fluid philosophy of life.

The work unfolds in three chapters: the “Circle” monologue, the “Right” monologue, and their dialogue.

The phrase “Perfect Circle” in English often evokes a perfectionist mindset—an idealized pursuit of wholeness and symmetry. In the work, an ellipse’s desire to become a “perfect circle” represents the impulse to conform to universal standards, a state deeply concerned with external judgment.

The word “Right”, on the other hand, embodies inherent duality. It can signify correctness, direction, or even power. In the performance, the performer wears an LED mask symbolizing “Right”—his gestures are considered correct even when he points to the left. This paradox reveals a self-centered attitude toward life and a nihilistic contemplation of the cyclical nature of existence.

Ultimately, the work is not about the opposition between “Circle” and “Right,” but about their coexistence and interdependence—like yin and yang—healing and completing one another until they merge into a “Right Perfect.”

Originally, this piece belonged to the Definition series. However, upon revisiting it, I realized it was already foreshadowing my later exploration of self-identity, which makes it more closely aligned with the Moon and Navel series. It offered me a new perspective on the relationship between the artwork and the artist.

As a queer artist, I did not consciously approach this work through a queer lens at the time. Yet the work itself inevitably reflects my queerness. The Moon and Navel series marks the beginning of my journey toward understanding personal displacement and essential identity—a process of returning, questioning, and becoming.