還記得童年，只要啟動想像力，手裡的小汽車可以疾駛到世界盡頭、懷中玩偶可以與你同遊奇異國度？小小的房間往往是所有馳騁的開始，也是錄像藝術家澤拓創作中嘗試喚回的記憶--隱然熟悉卻又微渺飄忽。

在大安56的主臥房，澤拓展出三件錄像作品，場景均為觀眾一眼即可辨認的生活居家空間，卻被賦予了超現實的迷離一一種夢的邏輯、夢獨有的可能。《elsewhere》中的客廳或廚房，出現了長著人腳行走的杯、盤等日常用品；《WITHIN》訴說的是一個孩子半夢半醒的時刻，由故事書、小木馬、溫暖的百納被共同交織；《trail》是思緒的飄移、想像力的旅行，刻意緩慢的步伐，只留下可看而不可觸的影子軌跡。

魔幻時刻降臨，再熟悉不過的空間也跌進了夢鄉，但藝術家不是以白日夢逃離現實，而是以夢的語言重拾漸漸遺忘的想像力—在主臥房中，夢開始上演！

Remember a time when you were a child, all you had to do was use your imagination and you could travel the world in your toy car, or journey to exotic lands with your beloved teddy bear? The tiny bedroom is where all these imaginations began. It features in artist Hiraki Sawa’s work as a memory to be retrieved—so familiar yet so distant.

The master bedroom in Da-an 56 showcases three of Hiraki Sawa’s video works. The scenes are set in noticeably familiar places, with an extra touch of surrealism that is only logical and possible in dreams. Elsewhere features a domestic space where ordinary glasses and dishes with legs are walking around. WITHIN depicts a small child, half-awake and half-dreaming, with storybooks, pony and warm patchwork quilt. trail features the wandering mind and the wild imagination. Deliberate, slow steps leave behind a trail of shadows that are visible but intangible.

The magical moment has arrived. A place you know so well tumbles into another dream. The artist does not daydream his way out of reality. Instead, he traces fading imagination using the language of the dream.