Parallel attempts to depict what appears to be an equidistant yet intertwined world through separate video narratives, interspersing recordings of a missing elderly person found on August 15 and the wanderings of other senior Alzheimer’s patients throughout the exhibition. The camera’s perspective follows each subject’s disorientation, to reveal a daily cycle of hesitation, repetition, forgetfulness, and murmuring, all rendered visible by the illness. Within this series of ‘moving portraits’, the viewer’s forced confrontation with these individuals ruptures the static sense of time typical of more standard portrait forms, and implicitly highlights the existential relationship detectable between the recorded subject and the other. Through the flowing transformation of moving images, Chu reflects the fractured yet interconnected relationship between residents and society through a lost and vanished sense of time. As the films continue to play, it is as if the amnesia so symptomatic of these conditions becomes more or less just another part of everyday life. By manipulating the use of both image and time, Parallel reveals to us the empty trajectory of the essence of existence.