Asyl is one of Karen's most ambitious works, an experimental work on time-lapse photography, multi exposure, and image segmentation. When he moved to a home in the countryside, Karen installed a static camera nearby and fed the same film through the camera once a day for 21 consecutive days. In front of the camera, Kren also placed a perforated baffle, and the position of the baffle changes every day, so each time the film passes through the camera, different areas of the image are exposed. The result is that within a frame, time and space overlap and coexist in an unusual way, creating an impossible landscape composed of shots taken on different days of the year. Sometimes, most of the content of the movie is exposed, and the image becomes a collage of landscape paintings, with a snow pile extending directly onto the grassy spring grass, or rainwater falling from the top half of the screen, but when it reaches the bright sunlight in the bottom half, the rainwater disappears. At other times, the image is more like a dotted line, with different areas floating within a black frame, just like a puzzle that needs to be assembled. Seasons seamlessly connect in this way, and time becomes blurred. Occasionally, a person will walk along a road in a part of the image, disappearing into an invisible boundary where the image will disappear on different days and times. Karen reconfigures film as a medium in which time and space are no longer linear in any sense. On the contrary, this movie is about the whole; It invites the audience to reflect on the progress of time and its general way of working in movie images, and to process the multiple layers of time hidden in each frame of Asyl through comparison. This short film is Karen's finest work, with unparalleled conceptual purity and creativity, even in his consistently captivating works.