《海平面上的虛線II》延續過往創作脈絡，以與那國島與台灣之間的海域為拍攝場域，將鏡頭對準兩地間流動的海面。台灣東海岸面向太平洋，黑潮暖流自此向北流經與那國島，形成一條肉眼不可見、卻持續運動的自然連結線。這股洋流不僅牽動海洋生態系統，也象徵著跨越國界的自然流動與無形路徑。

與那國島距台灣僅約110公里，是自然與文化交織的邊界地帶，一處兼具多重歷史與地理意涵的臨界位置。透過影像的拍攝與剪接，作品試圖將這片海域轉化為一條介於現實與想像之間的虛線，它既是邊界，也是連結；既是分隔，也是彼此牽引。

影像中的浮球以浮石為原料製成。浮石源自海底火山噴發，是一種在劇烈地質變動中生成、並能隨洋流長距離漂移的火山物質。經由高溫熔融與再製，它從漂浮於海面的自然之物，轉化為一顆中空、透明的玻璃浮球。這一轉化過程使浮石不再只是地質樣本，更成為承載移動、時間與想像的媒介。而那條虛線，也由此成為自然力量在海上短暫浮現、又悄然消逝的痕跡。

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Dotted Line on the Sea II continues from previous works, using the waters between Yonaguni Island and Taiwan as its filming ground, placing the camera above the flowing sea between the two places. Taiwan's east coast faces the Pacific Ocean, where the Kuroshio Current flows northward past Yonaguni Island, forming a natural line of connection that is invisible to the naked eye yet in constant motion. This ocean current not only shapes marine ecosystems, but also embodies the natural flow and invisible pathways that cross national boundaries.

Yonaguni Island lies approximately 110 kilometers from Taiwan — a borderland where nature and culture intertwine, a threshold site charged with multiple layers of historical and geographical meaning. Through the processes of filming and editing, the work seeks to transform this stretch of sea into a dotted line suspended between reality and imagination — at once a boundary and a connection; at once a separation and a mutual pull.

The floating spheres seen in the footage are made from pumice. Formed through violent geological upheaval on the ocean floor, pumice is a volcanic material capable of drifting vast distances carried by ocean currents. Through high-temperature melting and remaking, it is transformed from a natural object floating on the sea's surface into a hollow, transparent glass sphere. This process of transformation allows pumice to become more than a geological specimen — it becomes a medium that carries movement, time, and imagination. And the dotted line itself becomes a trace of natural forces briefly surfacing on the sea, only to quietly disappear.