= Reflection 感想 =
As a wordsmith and a stickler for meaning, I was not aware of the relation between my work/creativity and sound, until our discussion that, “we can only start to get closer to the true meaning of sound when we learn to forego meaning.” The most inspiring part of this mentorship programme has to be this unlearning process. Only when we depart from our established understanding can we begin to discover the intricate differences of sounds. I wondered once if I had such sensitivity (or imagination), but my doubts eroded as time went by.
I have not had any formal art training, and the learning process from the beginning was very difficult, like learning how to walk again. During the workshops I eliminated what the sounds were not (e.g. whistling was not red) to comprehend my understanding of sound. Interestingly, I seemed to have developed a new perspective for colours and patterns coincident with my newfound understanding of sound.
The soundwalks at the Zoological and Botanical Gardens and the Edward Youde Aviary allowed us to imagine the unimaginable content of bird calls from their tones, frequencies, or emotions. These calls, to my surprise, could tell the physical characteristics of space, like big or small, near or far, open or closed, high or low. I slowly realised how I could apply these experiences on my understanding of space in an exhibition, an understanding of space that has long been numbed by the limited living spaces in Hong Kong. Tai Kwun’s exhibition “Dismantling the Scaffold” was also curated in a way that used the height of space to arrange the works.
While what I have said may seem at a tangent from my relationship with sound, these exercises have helped me develop and broaden my perspective – a new perspective that can probably be found in my future writing and creative works.