Glass figures arranged in networks and clusters appear to float in mid-motion—kissing, carrying, or entwining each other—resembling an animated sequence or one about to be digitised. In reality, the work shifts away from artificially generated or programmed characters and the standardised vocabularies they employ, and instead considers motion as affective rather than instrumental. Through its bright neon colour, the work becomes an emotional arch that prioritises intimacy over spectacle. At the same time, its veins, idle circuits, and branching glass structures open up a wound-like shape whose visual language is rooted in somewhat artificial realities now emerging within both our built and felt environments.