"As if fully awakened, the two found each other like a dual-in-one jewel under the alternation of day and night, of the white and black series." - Kitmen Keung
Black and white are dual. In visual darkness we breathe, we hibernate and we see our inner world brightening up before eyes open for a vibrant palette. As in whole whiteness, black underlies and shades all palettes; as in whole blackness, white penetrates and stands amongst all palettes.
Black and white are also one. Deep in that irrepressible sensuality lies the desire for the other. The everlasting interplay of the two hints longing for the inseparable essence to be sought, an essence extended from the pure, invincible darkness. Amongst the earthen polychromatism, black remains undefined yet fully refined. Looking back at the universe timeline, black remains the origin prior to the dazzling birth of white. All reoccur but should be referred to black. Just as the theorem of chemical-based photography and its processes under which the black series was developed, the master negative images on camera films used for producing classic, white models at the earliest stage were reused and directly applied on the dial, hands and layered indexes of the black series. By converting the positive format back to its negative latent one, the descendant black models were bred from the classic ones under the same hue ancestry, resulting in a high level of gene correlation between both series.