© PING SHEHG WU, 2017 Taiwan 台灣

吳秉聖, Ping Sheng Wu, Sound artist, Taiwan, 台灣藝術家, 聲音藝術, 聲音裝置, 動力裝置藝術, 電影配樂, 聲音設計 Sound Art, film score, electroacoustic music, interactive installation, Sound artist

Again (2018)

“It seems that all sounds are trying to cover our life experience via repetition.”

 

Speaking of the starting point of my work. I think part of it comes from the first impression of Bae when I first visit it. Bae draws me to space itself at first sight because of the unique building structure. The entrance of Openspace bae is the main entering route for the audience. It feels like diving into a surface which is under the original space when walking on the stairs, and the stairs are leading us to another space which can coat all of our sensations. The meaning of the entrance is not only present as a gate or door, but more like a process of a movement which can explain the entire meaning. I like the imagery movement of sinking, diving and spinning. It invokes an entering, a seeking movement under the water which increases the difficulty of our body to tell the direction.

 

It feels like to be held by the ocean during this residency program, the sound of waves attract me to the beach quite often. This makes the footprint on the beach becoming another observation event of my work. The footprints are shaped by energy and then slowly disappear on the beach because of the natural forces just like the sound. Sometimes they are superimposed by a new footprint and turn into another shape. The beach is a very special carrier. The barefoot footprints are left on the beach, the path is seen in the future, and the sound disappears without a trace. Imagine if you had the opportunity to listen to your own footsteps, it might be a very rare experience.


I remember here is a saying that the more stored memory is reawakened continually, the farther from the truth the memory would be. It is because the brain will re-present all the information, change and rationalise all the unreasonable details. It is just like a footprint on the beach. If we deliberately step on the same place, it won't make the footprint clearer, but blurring the original rendering instead. Does the voice of walking work in the same way in memories? Or the voice actually has a more physical memory than mental?

Material: Iron Structure, Shaker, Copper Pillars, Electronic Amplifier Module, 2015 Mac mini, audio interface, DC power supply.

Again (2018)

這作品有部分的構成的元素是來自於駐村單位展場本身的特性,第一次參訪時我 就被他特有的建築結構與整體空間吸引,那是一個地下立體停車場改建成的空間, 所以可以看到很完整的鑄鐵結構以及過去運作的機構,為了符合目前的需求,有 一個區塊的結構被切開後,置入了一個旋轉樓梯的設計,而這就成了這個藝術空 間主要的入口。走在這個樓梯上時,會有一種穿越某種表層而進入了另一個區域的錯覺,特別的是這個帶著我往下沉的樓梯明顯的分離了入口與展覽場地的兩個 空間,此時我進入的是一個下沉、包覆所有感官的空間。「入口」對我來說的意 義並不再指向某個形式上的門框或門板,他更像是一個動作的進程,帶著我們進 入、下沈、潛入並旋轉著。當我進到底層的空間時,像是有著沉到水裡般的阻力, 小心翼翼並緩慢的跨出每一步。​

在釜山駐村的這些時間裡,就像是被海擁抱著一樣。海浪的聲音常常吸引我到海 灘上,這讓海灘上的腳印變成了我駐村計畫中的另一個觀察的對象。腳印就像聲 音一樣,他是來自一個能量的釋放,而又因著自然力的影響消失在海灘上。而有 的時候也會因著疊上其他的腳印之後改變了其原有的形狀。沙灘是一個很特別的 載體,腳印的蹤跡被留在沙灘上,而聲音卻消失得無影無蹤。

如果有機會可以再聽一次自己的腳步聲,我想那會是一個非常特別的經驗。記得 有個說法是說,如果我們不斷的喚回過去的記憶,那段記憶就會離真實越來越遙 遠。因為我們的大腦會再現並重新檢視所有的細節與資訊,重新合理化並把所有 的資訊重新拼湊串連起來,這就像那些海灘上不斷重疊腳印一般,重複下印的腳 印並不會顯示的更清楚,反而不自然的改變了原有的形狀,變得更模糊不清。記 憶中的腳步聲也是這樣在我們的腦中運行的嗎?還是比起腦中的記憶,這樣的聲 音更隸屬於另一種身體記憶?

This site was designed with the
.com
website builder. Create your website today.
Start Now