/ On the interweaving of sight and sound

Fangyi Liu

About the exhibition

/ Fangyi Liu

Later, I found that the essence of my creation was to create connections, to perceive the connection between the two through association or intuition. However, this perception also contains a fictional creative component, and it could be said that when I connected the two, I created a relationship that did not exist before, and the possibility of ambiguity, full of possibilities for imagination and interpretation. So, I enjoy collage with sound. Sound is still abstract, which is difficult to be used as a symbol of reference. If different voices are brought together, a free narrative will be formed, which has no meaning, but can trigger imagination and activate sensibility.

In the creation and exhibition rooms of the two artists in “The Place Where There Is No Darkness”, they display different strong personalities and atmospheres, so I adopt a creative strategy different from the past. My creation is more inclined to ambient music, "Ambient music must be able to accommodate multiple levels of listening attention, rather than emphasizing on one. It must be both interesting and ignorable", allowing the audience to feel freely with their visual and auditory experience. Based on this premise, from the sounds I collected and recorded, I selected materials that can be linked to the paintings and the impressions of the exhibition, and then based on the flow of the paintings, I constructed the linear change of time of the entire sound experience, to respond to the feelings given by the two artists' paintings. I hope that the sound I create can slightly increase the audience's perception of "time", "space" and "the unknown" in the exhibition room.

In Exhibition Room of Shao Yung-Tien (S.Y.T.)
I took a few bright moments from my personal experience and polished them to into a more dynamic and fun collage of sounds and electronic sounds. I try to make the sound reverberate in the space like light, bursting out as the colors of a painting, and turn it into another layer of time perception in the scene, which may make the auditory and visual experience form the moment that touches the viewers.

In Exhibition Room of Yaman Shao
A walk or dream in the dark night, using all sounds recorded at night. The boats and surf at dock under the moonlight; the quietness makes the sound of cars and insects in the street especially clear. The bass fills the air as the color of the night, and the occasional treble is the twilight of halo and twinkle in the dark. The whole journey is a response to the exploration of inner feelings in Yaman's paintings. The latter part uses the illusion of Shepard tone. The infinite ascent is also the infinite descent. To the depths of the universe and dream consciousness. The end point is back to life, another peaceful and ordinary night.

Shao Yung-Tien (S.Y.T.). Ever-changing. 2020. Acrylic on canvas. 236x118 cm. Photo: ALIEN Art.

S.Y.T., Thousands of armed forces, 2021, acrylic on canvas, 189 x 189 cm © ALIEN Art Centre

S.Y.T., Without Darkness, 2021, acrylic on canvas, 189 x 189 cm © ALIEN Art Centre

The Blossom of Life. 2021. Acrylic on canvas. 189x189cm. Photo: ALIEN Art.

Yaman Shao, Moon Light, 2021, oil on canvas, 162x130 cm © ALIEN Art Centre

Yaman Shao, The Entrance of the Dream, 2021, acrylic on canvas, 235x118 cm © ALIEN Art Centre

Yaman Shao. Sing. 2021. Oil on canvas. Φ 130 cm. Photo: ALIEN Art.