Note: The article looks at George Clark’s projects in Taiwan, including his solo exhibition The Planter’s Art at Soulangh Cultural Park, in which he presented “Mountains and Rivers of Home”(2016) - a film that periphrastically touches on layered/fragmental histories of Taiwan, and his talks focusing on the relationship between artists moving images and contemporary art. In the past 5 years, he recorded his trajectory that traveling in between LA, Hong Kong and Taiwan with film diary in order to trace a concealed family history. Embracing Gilles Deleuze’s concept, he descried his art practice as a kind of “planter art”, following the way of planting “not bury the camera on its feet, but rapidly planting it, just below the surface of the soil... then carrying it elsewhere to plant it over again.” He also uses Manny Farber’s idea of “termite art” as a method to sketch a complex network regarding moving images’ genealogy.