「1996年的賀伯颱風，是我第一次對台灣重大災難的深刻記憶」，今年參與香港 Art Basel 巴塞爾藝術展-藝術探新單元的彭奕軒說到。 生於桃園的藝術家彭奕軒使用學校教室裡常見的白板為媒材，並蒐羅了位於亞熱帶台灣年復一年不斷發生並經由媒體轉播影像不斷共鳴迴放的大小天災人禍，他記錄著「災難」，重組人們記憶裡災難循環的碎片，投影到白板上。
「我們把白板當成一個人好了，在表面上，我們的確可以擦拭掉，但是對我而言，他是有進到白板裡面的。」彭奕軒坦言到，白板這個媒材伴隨在他的創作周遭，作為一個儲存「標記」的表面，白板暫存了記憶，卻又如此脆弱的一抹即逝。
在彭奕軒的《非永久性的標記》系列創作中，使用了白板映射了人們對於災難的記憶，可能漸漸被淡忘磨除，但是印象卻是會一直縈繞，這些記憶是焦灼的，像一個殤不斷地跟隨，如同鬼影，經由擦拭與覆蓋，這些鬼影也會不斷的跟隨，如同白板與他的連結性，呈現了他的狀態。 藉由臨摹出災難的輪廓而空洞化災難的體，彭奕軒匯聚了人們對於各種悲劇的集體記憶與經歷，不耐久的白板筆會因為任何不經意的擦拭而消失，如同這些銘刻在脆弱介質上的輪廓一樣不穩定，緩緩的，這些片段將成為深埋於台灣人之中的底蘊。
"I have always cherished my very first vivid memory of Typhoon Herbert in 1996." Peng Yihsuan said. The artist was born in 1990 in Taoyuan and his "Impermanent Marks" recently exhibited in the Discoveries section in 2019 Art Basel Hong Kong. He used whiteboard and erasable markers, as well as, the most iconic tools associated with teaching and education, as mediums to depict the sceneries of "Catastrophes in Taiwan". He collected the production of catastrophes images from media in order to puzzle those fragments of memories and projected them onto whiteboards.
"We can think of the whiteboard as a person. He can seemingly be erased, however, he has been within the whiteboard once.", Peng Yihsuan said. Those marks are embedded into whiteboard temporarily, also they can be erased in a flash. Through his performance, he has transformed convoluted memories into an arrangement intimate to the public experiences.