This work offers a laconic portrait of a young woman whom directly opposes the observer. She sits near entirely still, cradling her arms over her legs while seated on the ground. The image is a mournful one, there seems to be great sorrow in the slow movements as she lets her head fall in silent testimony to whatever possible shame or source of pain exists in her heart or life. She then raises her face to directly look out at the audience prior the performers repeat circumstance of action. The visual plane is only partly decorated with a few newssheets, and a sense of melancholia pervades, a blank space of black painted wood surrounds this forlorn figure, and it seems as though only digital circuits sustain her. Li Lingxi portrays the soul of a young woman whom is anonymous and unknown to us, a subdued performance which accords sympathy if not actual pity and remorse. The title evokes themes of a narrative which is impossible to conclude, unless we take the road of subjective interpretation, which does not seem called for. We observe the silent figure and are left to speculate and wonder as to what has caused her grief; is pain not universal? The experience of the heart is depicted without an intelligible history, she neither narrates nor open her mouth. If we expand on the theme, the concept behind the work examines the positions of interpretation and limitations of personal translations of experience as well as the question of truths that lie behind whatever visual tale, regardless of subjective or objective codes of perception and similar justifications. A portrait of a beleaguered and sad woman, alone in the frame and alone in the world, her own sorrow fills her eyes which stare out to a tangible audience unable to emphasize with her plight and situation. The work is a magnitude of alienation, existentialism and solitary experience. [Rajath Suri]