Where 何處 (2016)

The legitimacy of sound art or sound installations in the visually oriented spaces is the idea which I concentrate on in recent years. Hearing is a daily experience in our lives. We determine the distance of the object by hearing, which helps us to recognize the position of the objects making the sound, and this is a key to building a sonic perspective. If our previous experience can be rebuilt by the sound installation for a reunderstanding. This possibly be one of the way to reconstruct the perspective of sound and space. The work is not entirely about the sounding from installations, but a mixed sound from the acoustic space where the installation is placed.

聲音裝置在視覺藝術空間呈現的合法性是近年來一直試圖探討與處理的議題 。聲音做為人的一種日常經驗的時候,它的質地與細節往往會被日常給磨平,如我們對於發聲物體的定位過於熟悉一樣,如果聲音裝置可以重新建構起一種別於以往的聽覺經驗,觀者與空間的關係是否可以經由作品被放大,成為一種主觀的身體感官經驗。所以我們聽到的並不只是那個「造音者」,而是整個空間中空氣的震動。


Material: Acrylic structure, plastic steel, paper, bearings, Phenol resin board, motors, Iron structure, speaker, electronic amplifier module. 壓克力、塑鋼、軸承鋼、工業用培林、電木板、馬達、宣紙、鐵質結構

2017.1.1~2017.2.14 The Art and Creative Expo Taiwan

© 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

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