这个作品分为两个部分影像组成。一部分是被人遗弃的神像在墙面上交替出现，另一部分则是投射在地面上巨大的香灰池。

神像通常是作为神的化身被供奉起来，而被抛弃的神像却成为世事轮回的一员。因为风吹雨打，他们产生了各种入世般的面容。香灰则是人们敬拜神灵的留痕，是祷告仪式的遗迹。这两个部分形成了一个关于信仰的遗迹场，它阐述着一种有趣的悖论关系：神像似乎是放弃信仰的遗迹，而香灰却是保持信仰后的遗迹。

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The artwork is divided into two parts. One is abandoned josses alternately shown on the wall, and the other is a huge incense pool full of burning ashes projected on the ground. A joss is usually worshiped at home as the incarnation of Buddha, yet an abandoned one falls down into transmigration. They become subcelestial and have to bear rains and winds. Ashes are the hints of ritual left behind people praying. These two parts form a trace scene of faith and demonstrate a paradox of belief: josses are the evidence of doubt, ashes belief.