Within the imagery of "stop", one can find a judgmental consciousness of death in the closed loop of overlapping current images. Specifically, how to reflect on the inherent nature of imagery to address the fractured family relationships exposed in society after the loss of a loved one, finding an ascending exit for establishing intimate member connections in the future — rooted in stop but never solely limited to it.

The work uses a clock as a metaphor and link to discuss the dialectical and contradictory relationship between the end of life and the preservation of photography, prompting contemplation on the notion that life resides in stop. It not only practices discussing how the personal attributes of individual perceptions of death can be made public through photography but also explores new ways to sort out and reconstruct family relationships through visual creation after the stop of the photographer's mother's life. Moreover, it highlights the therapeutic function of related visual media in healing the emotional and psychological trauma brought about by death.