ZhouKe covers the walls with black, using a mop as a utilitarian brush. The action recalls ink wash painting and calligraphic gesture, yet it is performed as maintenance work, systematic and almost passionless. The room is transformed through brushwork, while drawings, furniture, and architectural details are obscured. Its large black gestures can call to mind Pierre Soulages or Franz Kline, yet the action remains utilitarian, procedural, and unsentimental. The act is both making and unmaking.

The footage is captured through fixed surveillance cameras and presented across multiple channels. The viewer sees the work through the same apparatus that records it. The stacked frames resemble a cut-through of an urban block, a contemporary landscape built from rooms, cameras, and partial views. The randomness of the loops prevents total mastery. One watches, yet never possesses the scene.