In this series, Fung moves beyond the traditional single layer of ink, building successive strata of water, ink, and seal impressions. Exploiting the absorbency of xuan paper, he extends the fleeting act of writing, preserving it as a visible record of time.

In Light Line: God/Devil, he first inscribed the characters shen 神 (god) and mo 魔 (devil) with water, then layered ink over them. The ink withdraws from the damp traces, allowing the water-written forms to reappear like apparitions hovering above the black field. Rippling circles spread across the surface, their negative spaces glowing like afterimages. These rings suggest energy and resonance, transforming rhythm and spirit into visible shape.

Because the water-written strokes fade as he writes, Fung cannot rely on sight to guide him. Instead, he must trust the gesture itself, embracing the act’s irreversibility. When the ink is finally applied, the earlier traces resurface, extending movement through time and revealing the unseen beneath the visible.

在这一系列作品中，艺术家突破了传统单层笔墨的方式，以水、墨与钤印的层层递进，借助宣纸的吸水特性，将书写瞬时的动作延展并留存于纸面，构筑出时间层次。

水的短暂与墨的凝重相互对照：在这幅《神魔光环字》中，他先以清水写下“神魔”二字，随后再以墨覆写。墨迹因水分回避而显露潜痕，使水写的文字若隐若现，仿佛漂浮在墨色之上。画面周围布满光圈，以环状笔触与负形显影，呈现能量的辐射与回响，其“光环”般的形态将节奏、气韵与力量外化为可见之形。

由于水写笔迹会逐渐消隐，艺术家在书写时无法凭视觉确认结果，只能全然信赖动作本身，以决心与自觉面对这一不可逆的过程。待墨色覆盖后，先前的痕迹才重新显现，使时间与动作在纸面上被延长并揭示。