For the works in the trilogy “The story about the crack in reality – Wall / Room / Box,” the artist filmed events with two cameras simultaneously from the front and back, and synthesized the resulting footage into single images. In On the Shore of the Desk, she creates different space/time frames by horizontally juxtaposing sceneries that have been filmed separately, while Ghosts was made by filming events with two cameras, to build a narrative that connects the past and the future along two different timelines and viewpoints. Through these works that depict the human body by simple yet unique means, and thereby highlight the structure of imagery that “seems like reality,” Koshida discusses the formation and essential quality of moving images.