Our status in the universe can be succinctly located through coordinates in space and time. As the spatial sense of being is explicitly revealed by Cherney in the captions and allusion to Shan Hai Jing, the temporal sense is more embedded behind the images. As rivers and lakes gallop and flood, rains and winds sculpt the land, nature changes every second, yet an image only captures a moment. But this inability to map the vicissitudes of landscape in turn sets off the timeliness of beings.

In delineating Zhangjiajie’s Wulingyuan landscape, Cherney drenches his image with tiny particles of grains that sets the scene behind a screen, so that the mountain in the foreground is accentuated with its darkness and largeness as sublime, while those in the background are hermitized into clouds. This screen of grains thus becomes fogs blown by breezes and together with the silhouette of the trees forms a momentary image that slips from the grasp of Cherney’s coordinates.

Through the haziness of his landscape, the artist synthesizes space and time into one visual experience, implying behind the screen that a cartography is temporal, and a moment is spatial. Since a weather or a certain posture of the nature is irreversible in time, Cherney’s timely memory is only recoverable through his camera, and his coordinates remind the viewer of the elusiveness of a space and the uniqueness of a memory.

我们在寰宇中的状态，可以简明地用空间和时间坐标来确定。空间感在秋麦的作品中已由他给出的数据坐标和对《山海经》的引述予以直观呈现，而时间感则更为隐晦，潜藏于影像背后。江河奔流、湖泽泛滥、风雨雕琢大地，自然每秒万变，而一个图像只捕捉一瞬。而正是这种无法完整描绘风景变迁的局限性，反而衬托出生命存在的时效性。

在描绘张家界武陵源的风景时，秋麦以细密的颗粒感渲染整幅画面，使场景仿佛置于屏风之后。前景的山体因其幽暗而庞大而愈显崇高，背景中的山峦则隐入云雾。这面颗粒组成的屏风仿佛化为微风吹拂着的浓雾，与树木的剪影共同组成了一个稍纵即逝的图景，从秋麦的数据坐标中悄然溜走。

透过画面的朦胧感，艺术家将空间与时间融于同一视觉体验，于屏风之后暗示着制图的时间性和瞬间的空间性。由于某种天气或自然的某一姿态在时间维度中无法复现，秋麦的及时记忆唯有通过镜头得以追溯。而他给出的数据坐标则提醒观者空间的难以捉摸，和记忆的独一无二。