About the Echigo-Tsumari Art Triennial Artist Residency Programme

From my perspective, this artist residency program has been a great opportunity and a time for me to try something new as a sound artist.

I documented what happened during my residency with a camera and a sound recorder, and participated in various activities, making exchanges with the local residents, and sharing with them the happenings in Hong Kong at that time.

During the six-week residency program, I spent most of my time exploring the Eurorack modular synthesizer. Using the synthesizer as my medium, I tried to find possibilities in the interaction between modules, and to create sound works through these.

Prior to this residency, I had been working as a sound designer. Most of the time I worked on technical issues, and production time is usually short in Hong Kong. As a result, I could rarely spend time experimenting on sound creation. I have always been interested in modular synthesizers, yet I never had the chance to devote a long time purely into exploring and studying.

Fortunately, this time in Tsunan, I have had a lot of space and time to do different explorations. Incorporating my interest in space, environment, and sound into my creation, I searched for the possibility of juxtaposing in-situ sounds and those that were machine-engineered within the same space. Behind the Echigo-tsumari Kamigo Clove Theatre was an abandoned swimming pool. I decided to set up a modular synthesizer and amplifiers in the center of the pool, playing sounds that simulated water and lyrical phrases to accompany the immediate environment, the rivers, and the surrounding cicada songs. The sounds echoed within the unique space of the swimming pool, recording my creation during the residency.

關於越後妻有大地藝術祭藝術家駐留計劃

於我而言，這次藝術家駐留計劃是一個很好的機會和時間讓我以聲音藝術家的身份作一些新嘗試。

我以相機和錄音機記錄整個駐留期間所發生的事，亦參與了很多不同的活動，與當地居民交流，以及分享當時在香港發生的事。

在為期六星期的駐留計劃中，我花了大部份時間去探索模組化合成器（Eurorack modular synthesizer）。我以合成器作為素材，嘗試在模組與模組之間的互動尋找可能性，並進行聲音創作。

在此駐留計劃之前，我一直都是以音響設計師的身份工作，大多時間都在處理關於技術部份的問題，而且在香港的製作時間基本上都很緊迫，很少可以花時間在聲音創作上做更多不同的嘗試。自己一直對模組化合成器都很有興趣，但實在沒有太多機會可以花一段長時間純粹去做點研習。

慶幸這次在津南有很多空間和時間做了不同的探索，我嘗試把自己對空間、環境和聲音的興趣放在創作入面，尋找在地的和以器材創造出來的聲音並置在一個空間的可能性。在越後妻有上鄉劇場館（Echigo-tsumari Kamigo Clove Theatre）後面有一個荒廢的游泳池，我選擇在泳池中央放置模組化合成器與喇叭，播放著模擬出來的水聲和一些似是樂章的短句，配合當下環境的河流和周圍的蟬叫聲。聲音在游泳池特有的空間下的迴響，記錄了自己在駐留時的創作。