The work was made after the artist's travel to Yinchuan, Ningxia, northwest China, where a new international arts centre is being developed near the historic Silk Road. Though situated in proximity to the dry desert plains of Inner Mongolia, Yinchuan is well-irrigated by the Yellow River that runs through it. The latter changed its course frequently and in the process created lakes and wetlands across the city; the arts centre is situated beside such a lake. The Yellow River's strong currents carry and leave behind geological deposits along its banks, its flow interacting with the geographical condition along its path. In situ at Yinchuan, the Southeast Asian artist of Chinese ethnicity reflected on the confluence of historical and cultural origins.

Back at his studio in Singapore, the artist handled stones sourced from the Yellow River, Ningxia and Fort Canning Hill, Singapore - both sites linked to stories of origin and the beginning of civilisation/settlement in its surroundings. Touching, ink-washing, placing, outlining and removing the stones repeatedly, the artist entered into a process that involved the aleatoric and the intentional to make the work. An important part of the process was resting the inked stones onto the paper, and letting time wash over them.

There are 99 original compositions in this series of work. Each is a (unique) repetition of the artist making a connection between Yinchuan and Singapore, his contemplation of their origins and the many lines of history between them.

艺术家的银川之旅成就了这幅作品。银川位于中国西北地区的宁夏回族自治区，在历史悠久的古丝绸之路上，正在建造一个新的国际艺术中心。虽然靠近内蒙古干燥的沙漠平原，银川却因为黄河的流经而得到了很好的灌溉。黄河历次改道，造就了银川市多湖泊、多湿地的现状，艺术中心就坐落于其中的一个湖泊附近。黄河湍急的水流携带了大量的泥沙，并在流经的河流两岸沉积，沿途的地理状况同时又影响了黄河的水流。以银川为创作背景，这位华裔东南亚艺术家通过该作品反映了历史和文化渊源的合流。

在新加坡的工作室内，艺术家利用从宁夏黄河流域和新加坡的福康宁山收集的石头进行创作，这两处地方均为传说中的人类文明/定居的发祥地。在反复的触摸、墨洗、安置、描述和挪动石头的过程中，艺术家进入一个任意的、有意识的创作过程。这个过程中最重要的部分是将这些着墨的石头放置到纸上，并让时间来慢慢地将其漂洗。

在这个系列的作品中包括了99件原创作品。每一件都是艺术家将银川和新加坡进行链接的、独特的反复过程，是艺术家关于他们的渊源以及两者之间的历史脉络的思考。