News from the Wind
Sound Installation with blown glass and transparent paper, 2024, Toyama Institute of Glass Art
When the wind chimes make sounds from gentle breeze, it feels like hearing messages of good luck and happiness from close ones who live far away from me.
風の便り
サウンドインスタレーション – 吹きガラスと透明紙, 2024, 富山ガラス造形研究所
風鈴がそよ風から音を奏でると、遠く離れた親しい人たちから幸運や幸せのメッセージが聞こえてくるような気がする。
The Melody of Memories
Installation with engraved glass & piano bench, 2024, Toyama Institute of Glass Art, Toyama, Japan
As I travel around to explore the world, I constantly think about the memories of my journey and life. Because I grew up around the music world, I constantly recall memories through music and sound. In this installation, I am visualizing the movement of my fingerprints on piano when playing a random melody that came right into my mind when I thought about my memories. Because I played the melody on a flat sheet of glass, there isn’t any sound. The melody could only be played once since I played it out based on the feelings that I had at that moment, so the song couldn’t be replayed or listened again. Therefore, the whole process became a part of my memories as well.
Making marks is like leaving footprints as we journey through life. They are being created in every moment of our life - every time we take a breath, every time we make a choice, every time we smile and every time we frown. It takes a long time to engrave the markings on glass, just like how it takes time for us to live a life. Memories couldn’t be erased and changed, just like we are not able to erase an engraved mark on glass. Fingerprints engraved on the glass are very detailed, sharp and clear when the shadow of them are blurry, as if every memory that we created up to date is always clear and fresh, but they become blurry and vague as time goes by and as we keep growing up.
記憶の旋律
インスタレーション – エングレービング青板ガラス, 2024, 富山ガラス造形研究所
世界を探検するために旅するとき、私は常に自分の旅と人生の思い出について考えます。私は音楽の世界に囲まれて育ったので、音楽や音を通して記憶を思い出します。このインスタレーションでは、私の記憶から思い浮かんだメロディーをピアノで演奏し、私の指の動きとして視覚化しています。平らなガラスの上でメロディーを弾いたので、音はありません。また、その時の感情で弾き出したメロディーであるため、一度しか弾けません。したがって、その過程もすべて私の記憶の一部となりました。
痕跡を残すことは、人生を旅するときに足跡を残すことに似ています。それらは私たちの人生のあらゆる瞬間、つまり私たちが息をするたび、選択をするたび、微笑むたび、顔をしかめるたびに作られます。私たちが人生を歩むのに時間がかかるように、ガラスに印を刻むには長い時間がかかります。思い出を消したり変えたりすることはできません。ガラスに刻まれた指紋は、その影がぼやけていても、とても細かく、鋭く、鮮明に映し出されます。私たちが今日まで作り上げてきたすべての記憶は、まるで常に鮮明で新鮮であるかのようですが、時が経ち、私たちが成長し続けるにつれて、それらはぼやけて曖昧になっていきます。
Resonance II
Sound Installation with blown glass, 2023, Toyama Institute of Glass Art, Toyama, Japan
I named “Resonance II” as the title of this work because it reminds me of the first glass artwork that I made that is also called “Resonance.” It’s a simple work that also consists of one object activating the other objects to move. Unlike my other previous artworks, I took a more simple and abstract approach to make this work and think about the concept.
This installation represents translations, communications, and connections.
Circles represent infinity, in which I see them as languages that have endless knowledge, so it’s like each glass is representing a language. I also see the overlapping placement of glass as similarities that each languages have. Different languages have different sounds and structures as well, just like each glass is made differently and sounds differently.
The movement of glass is created by air flow in the space. When one glass moves, it activates the other glasses to move, which creates sounds since they are overlapping and touching each other. Also, when one language speaks, it activates the translation of other languages. Translation activates different people from different parts of the world to communicate with each other and build bridges between different cultures. The installation sounds like people are chatting and having a conversation.
Glass also reflects lights. When each glass moves or talks, it’s like people are reflecting on each other’s thoughts. There are no rules and limitations for conversations, just like the placement of the glass. There isn’t a set or specific pattern that conversations ‘should’ or ‘must’ follow. People will not expect what the installation will sound like in the next second or so, just like we don’t expect how a natural conversation will go.
This installation represents translations, communications, and connections.
Circles represent infinity, in which I see them as languages that have endless knowledge, so it’s like each glass is representing a language. I also see the overlapping placement of glass as similarities that each languages have. Different languages have different sounds and structures as well, just like each glass is made differently and sounds differently.
The movement of glass is created by air flow in the space. When one glass moves, it activates the other glasses to move, which creates sounds since they are overlapping and touching each other. Also, when one language speaks, it activates the translation of other languages. Translation activates different people from different parts of the world to communicate with each other and build bridges between different cultures. The installation sounds like people are chatting and having a conversation.
Glass also reflects lights. When each glass moves or talks, it’s like people are reflecting on each other’s thoughts. There are no rules and limitations for conversations, just like the placement of the glass. There isn’t a set or specific pattern that conversations ‘should’ or ‘must’ follow. People will not expect what the installation will sound like in the next second or so, just like we don’t expect how a natural conversation will go.
レゾナンス II
サウンドインスタレーション – 吹きガラス, 2023, 富山ガラス造形研究所
天井から吊るされたガラスの動きは、空間の空気の流れによって生み出されます。 一つのガラスが動くと他のガラスも動き、重なり合って互いに接触することにより、音が発生します。
インスタレーションは、翻訳、コミュニケーション、つながりを表します。言語が異なれば、音や構造も異なります。同時に、すべての言語には、重複する無限の知識という類似点があります。ある言語が話せると、他の言語の翻訳が開始されます。翻訳は、世界のさまざまな地域のさまざまな人々が互いにコミュニケーションし、異なる文化の間に架け橋を築きます。
インスタレーションは、翻訳、コミュニケーション、つながりを表します。言語が異なれば、音や構造も異なります。同時に、すべての言語には、重複する無限の知識という類似点があります。ある言語が話せると、他の言語の翻訳が開始されます。翻訳は、世界のさまざまな地域のさまざまな人々が互いにコミュニケーションし、異なる文化の間に架け橋を築きます。
Multilingual Dreams
Installation with engraved blown glass, wood, washi paper & LED lights, 2023, Toyama Institute of Glass Art, Toyama, Japan
Under the starry night, I always dream in different languages. As a multilingual foreigner, I always get confused with my dreams due to languages. Sometimes, I even dream in a language that I don’t understand, and I would wonder how it happens in my brain. What language do you dream in?
Yatsuo, the place where I am exhibiting, is famous for its papercraft. Therefore, I specifically used Yatsuo-made washi paper for making the lamp. The design of the lamp is also inspired by a Japanese traditional turning lantern called “Mawari-Doro.”
多言語の夢
インタラクティブなインスタレーション – 彫刻されたガラス、木材、和紙、LEDライト, 2023, 富山ガラス造形研究所
星空の下、私はいつもさまざまな言語の夢を見ます。多言語を話す外国人として、私は言語のせいで自分の夢といつも混乱してしまいます。時々、理解できない言語で夢を見ることもありますが、それが私の脳の中でどのように起こっているのか疑問に思います。あなたは何語で夢を見ますか?
私が出展している八尾は和紙産業で有名な町です。そこでランプには八尾産の和紙を特別に使いました。ランプのデザインも日本の伝統的な廻り灯籠からインスピレーションを受けています。
第27回「坂のまちアートinやつお2023」
2023年10月7-9日
桂樹舎
2023年10月7-9日
桂樹舎
Signature of Sounds
Interactive installation with engraved glass, stamps on paper & electric roller screen, 2023, Toyama Institute of Glass Art
Stamps are engraved on the bottom of each glass, in which each represents a music note.
Most old Chinese melodies or songs are composed of a pentatonic scale with only 5 music notes: C, D, E, G and A. In the ancient Chinese culture, each of the music note has a Chinese character representing them: “宮” represents the music note “C”; “商” represents “D”; “角” represents “E”; “徵” represents “G”; “羽” represents “A.” 5 different stamp patterns were designed by combining the Chinese character and the corresponding music note. In the bottom of each glass cup, each pattern was engraved for each music note and tune them with water accordingly by ear.
This kind of stamp indicates someone’s signature back in the old days, so it looks like each music note has their own signature. I also chose to engrave instead of using the sandblaster because Chinese stamps are usually hand carved by craftsmen.
As for the music score, I was inspired by the game “Tap Tap Music.” Audience can interact with the work by hitting the glass with the sticks provided using both hands when the stamps pass through the bottom of the glasses. The melody in the music score is called, “Jasmine Flower,” which is a famous Chinese folk song that is composed using only the pentatonic scale (5 music notes).
Most old Chinese melodies or songs are composed of a pentatonic scale with only 5 music notes: C, D, E, G and A. In the ancient Chinese culture, each of the music note has a Chinese character representing them: “宮” represents the music note “C”; “商” represents “D”; “角” represents “E”; “徵” represents “G”; “羽” represents “A.” 5 different stamp patterns were designed by combining the Chinese character and the corresponding music note. In the bottom of each glass cup, each pattern was engraved for each music note and tune them with water accordingly by ear.
This kind of stamp indicates someone’s signature back in the old days, so it looks like each music note has their own signature. I also chose to engrave instead of using the sandblaster because Chinese stamps are usually hand carved by craftsmen.
As for the music score, I was inspired by the game “Tap Tap Music.” Audience can interact with the work by hitting the glass with the sticks provided using both hands when the stamps pass through the bottom of the glasses. The melody in the music score is called, “Jasmine Flower,” which is a famous Chinese folk song that is composed using only the pentatonic scale (5 music notes).
音の署名
インタラクティブなインスタレーション – 彫刻されたガラス、紙に描かれたスタンプや絵、電動ロールスクリーン, 2023, 富山ガラス造形研究所
インタラクティブなインスタレーション – 彫刻されたガラス、紙に描かれたスタンプや絵、電動ロールスクリーン, 2023, 富山ガラス造形研究所
各グラスの底には音符を表す刻印が刻まれています。
中国の古いメロディーや歌のほとんどは、C、D、E、G、A の 5 つの音符のみを含むペンタトニック スケールで構成されています。古代中国の文化では、各音符にはそれを表す漢字があります。「宮」は音符「C」を表します。「商」は「D」を表します。 「角」は「E」を表します。 「徵」は「G」を表します。 「羽」は「A」を表します。漢字と音符を組み合わせた5種類のスタンプパターンをデザインしました。ガラスのコップの底には音符ごとに模様が刻まれており、水と耳で調律しました。
このスタンプは昔の誰かのサインを示すもので、音符ごとにサインがあるように見えます。また、中国の印鑑は職人が手彫りすることが多いため、サンドブラスターを使わずに彫刻することにしました。
楽譜に関しては、「Tap Tap Music」というゲームからインスピレーションを受けました。観客はスタンプがグラスの底を通過する際に、付属の棒を使って両手でグラスを叩くことで作品と対話することができます。楽譜のメロディーは「茉莉花」と呼ばれるもので、ペンタトニックスケール（5つの音符）のみで作曲された中国の有名な民謡です。
中国の古いメロディーや歌のほとんどは、C、D、E、G、A の 5 つの音符のみを含むペンタトニック スケールで構成されています。古代中国の文化では、各音符にはそれを表す漢字があります。「宮」は音符「C」を表します。「商」は「D」を表します。 「角」は「E」を表します。 「徵」は「G」を表します。 「羽」は「A」を表します。漢字と音符を組み合わせた5種類のスタンプパターンをデザインしました。ガラスのコップの底には音符ごとに模様が刻まれており、水と耳で調律しました。
このスタンプは昔の誰かのサインを示すもので、音符ごとにサインがあるように見えます。また、中国の印鑑は職人が手彫りすることが多いため、サンドブラスターを使わずに彫刻することにしました。
楽譜に関しては、「Tap Tap Music」というゲームからインスピレーションを受けました。観客はスタンプがグラスの底を通過する際に、付属の棒を使って両手でグラスを叩くことで作品と対話することができます。楽譜のメロディーは「茉莉花」と呼ばれるもので、ペンタトニックスケール（5つの音符）のみで作曲された中国の有名な民謡です。
Inner Translation
Interactive installation with engraved blow glass, music notation & sound, 2023, Toyama Institute of Glass Art
As a musician with absolute pitch, the ability to recognize a pitch without an external reference, sound is an integral part of how I experience the world. I would translate spoken language to music constantly inside my mind according to the intonations.
On the outer layer of the bell jar, 4 different letters from 4 of my close friends from Hong Kong, United States, China and Japan are engraved on the bell jar. They are of Cantonese, English, Mandarin Chinese and Japanese respectively. The letters are all engraved by hand because of the more deliberate thinking of the connections I have with my close ones.
Inside the bell jar, handwritten piano music sheets are placed according to the letters. In piano music, there is always a left-hand and right-hand melody, in which left-hand melody is the harmony for the right-hand main melody most of the time. The letters were translated by ear into the left-hand melody according to the intonations of the language from the letters. I then replied to the letters in music by composing the right-hand melody that suits the harmony from the left-hand melody.
Audience can also listen to each music from the earphones provided from the inside of the bell jar. The left-ear earphone is only playing the left-hand melody while the right-ear earphone is only playing the right-hand melody. Therefore, audience has the choice to listen to only the left-hand, right-hand melody or both melodies playing together.
I always see myself as a bell jar. I can understand the 4 languages on the outer layer of the bell jar. However, inside of my mind, languages are translated into music. I translated and created replies from the inner part of myself to the outer part for my friends and audience to experience my world.
On the outer layer of the bell jar, 4 different letters from 4 of my close friends from Hong Kong, United States, China and Japan are engraved on the bell jar. They are of Cantonese, English, Mandarin Chinese and Japanese respectively. The letters are all engraved by hand because of the more deliberate thinking of the connections I have with my close ones.
Inside the bell jar, handwritten piano music sheets are placed according to the letters. In piano music, there is always a left-hand and right-hand melody, in which left-hand melody is the harmony for the right-hand main melody most of the time. The letters were translated by ear into the left-hand melody according to the intonations of the language from the letters. I then replied to the letters in music by composing the right-hand melody that suits the harmony from the left-hand melody.
Audience can also listen to each music from the earphones provided from the inside of the bell jar. The left-ear earphone is only playing the left-hand melody while the right-ear earphone is only playing the right-hand melody. Therefore, audience has the choice to listen to only the left-hand, right-hand melody or both melodies playing together.
I always see myself as a bell jar. I can understand the 4 languages on the outer layer of the bell jar. However, inside of my mind, languages are translated into music. I translated and created replies from the inner part of myself to the outer part for my friends and audience to experience my world.
Special thanks to Ellis Wan, Lindsay Horne, Xinqian Zhao and Yoshi Hara for the written letter and appearance in this artwork.
Links to the piano music:
Cantonese: https://on.soundcloud.com/jMpqP
English: https://on.soundcloud.com/aVEo5
Mandarin Chinese: https://on.soundcloud.com/M1YvQ
Japanese: https://on.soundcloud.com/s1B2P
English: https://on.soundcloud.com/aVEo5
Mandarin Chinese: https://on.soundcloud.com/M1YvQ
Japanese: https://on.soundcloud.com/s1B2P
私の中の翻訳
インスタレーション - 彫刻された吹きガラス、手書きの楽譜、サウンド, 2023, 富山ガラス造形研究所
インスタレーション - 彫刻された吹きガラス、手書きの楽譜、サウンド, 2023, 富山ガラス造形研究所
絶対音感、つまり外部基準なしで音程を認識する能力を持つ音楽家として、音は私が世界を体験する方法の不可欠な部分です。私は、話し言葉をイントネーションに従って常に頭の中で音楽に翻訳していました。
ベル ジャーの外層には、香港、アメリカ、中国、日本の親しい友人 4 人からの 4 つの異なる手紙がベル ジャーに刻まれています。それぞれ広東語、英語、中国語、日本語です。文字はすべて手で彫られています。これは、親しい人々とのつながりをより慎重に考えているためです。
ベルジャーの中には、手紙に合わせて手書きのピアノの楽譜が納められています。ピアノの曲には必ず左手と右手のメロディーがあり、ほとんどの場合、左手のメロディーが右手の主旋律のハーモニーになります。手紙は、手紙の言語のイントネーションに従って左手のメロディーに耳で翻訳されました。そして、私はその手紙に、左手のメロディーからハーモニーに合う右手のメロディーを作曲して音楽で返しました。
鑑賞者はベルジャーの内側から備え付けられたイヤホンでそれぞれの音楽を聴くことができます。左耳のイヤホンは左手のメロディーのみを再生し、右耳のイヤホンは右手のメロディーのみを再生します。したがって、鑑賞者は左手または右手のメロディーのみを聴くか、または両方のメロディーが一緒に演奏されるのを聴くかを選択できます。
私はいつも自分自身をベルジャーだと思っています。ベルジャーの外層にある4つの言語を理解することができます。しかし、心の中では、言語は音楽に変換されます。友人や鑑賞者が私の世界を体験できるように、自分自身の内側から外側への返信を翻訳して作成しました。
ピアノ曲へのリンク:
The Moon Melody
Blown glass with engravings, 2022, Chrysler Museum of Art Glass Studio
The glass moon installation was inspired by the Chinese poem, “Prelude to Water Melody” (水調歌頭), written by Su Shi. The poem is in a cí (詞) style that can also be sung as a melody. Therefore, artist Jocelyn Chan created a simplified abstraction of the Chinese characters to resemble musical notes and they are engraved as some of the craters of the moon. The poet writes of missing his brother during the Mid-Autumn Festival, when families reunite and enjoy the moon. Chan, who has been separated from her family and friends for years, can relate to that feeling. After moving to Norfolk, she has been noticing the moon more often, which always reminds her of this poem. For her, the moon acts not only as a companion during bouts of loneliness but also as a connection between the place where she is and where she is from.
When Cantonese sounds like Music
Installation with video, engraved glass & music notation, 2021, University of Wisconsin - Madison
A Chinese passage about my relationship and stories with music since I was small and how it connects to my continuous exploration of Cantonese language, my mother language as I came to a foreign country was translated into the nine different intonations of Cantonese. The intonations were then translated into musical language by ear, written on music sheet and played on the cello. The Chinese characters of the passage engraved on glass and overlayed with the music sheet create a sense of invisibility and barrier for viewers who do not read Chinese characters. Just like the video, viewers do not understand the meaning of the passage when solely listening to the music translation in the first part, until the second part of the video, in which English captions are provided, is shown.
Kol Nidrei
Installation with performance, video and kiln worked glass (screenprinting glass powder on glass), 2021, University of Wisconsin - Madison
Kol Nidrei is a warm and richly evocative work for cello and orchestra composed by Max Christian Friedrich Bruch (1838-1920). He was a German composer and conductor born in Cologne. His works are complex, well-structured and in Romantic Classical style. Because of Bruch’s Hebrew nature, he was suspected from the Jewish ancestry and his music was once banned.
This piece was composed specifically for Liverpool’s Jewish community. It is styled as an Adagio on 2 Hebrew melodies and consists of a series of variations on two main themes of Jewish origin. My focus is on the first theme, which also lends the piece its title. It comes from the Kol Nidre prayer (written in Aramaic) which is recited during the evening service on Yom Kippur.
I used to practice this piece a lot because it was my recital piece. When I play this song every time, I could really merge into the composer’s feelings. The grief, lonely and sad nature of this song is exactly what the composer wanted, with those slow yet firm phrases, building up to a livelier yet still hurting moment, representing all that happened to his culture, but also giving a taste of better times to come. It’s a sad, yet strikingly beautiful song that gives hope. It is so abstract and objective that music can universally convey such emotions to humans.
This piece was composed specifically for Liverpool’s Jewish community. It is styled as an Adagio on 2 Hebrew melodies and consists of a series of variations on two main themes of Jewish origin. My focus is on the first theme, which also lends the piece its title. It comes from the Kol Nidre prayer (written in Aramaic) which is recited during the evening service on Yom Kippur.
I used to practice this piece a lot because it was my recital piece. When I play this song every time, I could really merge into the composer’s feelings. The grief, lonely and sad nature of this song is exactly what the composer wanted, with those slow yet firm phrases, building up to a livelier yet still hurting moment, representing all that happened to his culture, but also giving a taste of better times to come. It’s a sad, yet strikingly beautiful song that gives hope. It is so abstract and objective that music can universally convey such emotions to humans.
A Pause in Silence
Installation with glass, wood & metal, 2021, University of Wisconsin - Madison
Wooden balls drop down from the opening of the metal cage on the black carpet, causing sounds from the balls rolling on the sheet glass. There are musical rest symbols with measures on all the sheet glass. A rest is a musical notation sign that marks the absence of a sound in a piece of music. Like music notes, they are measured in length. Different rest symbols are engraved on different length of the sheet glass according to how long the silence should last for. When sounds are created from balls hitting or rolling on the glass, it breaks the silence.
Finding the Right Notes
Interactive installation with glass, wood & acrylic, 2020, University of Wisconsin - Madison
In this interactive artwork, viewers have to scan the QR Code provided and listen to a song composed with only 8 musical notes. The song is played by rolling a wooden ball from the top of the stairs to the bottom of the stairs, hitting sheet glass pieces with different length that are placed on the right levels of the stairs. Viewers then have to find the right notes to match the song played from the QR code by placing and rearranging sheet glass on the 8 different levels of the stairs with a pile of sheet glass provided.
Floating
Glass & sound performance, 2019, University of Wisconsin - Madison
Everyone has different ways of meditation. One way of meditation is to compose songs. Floating is a song that I composed with glass by rubbing wet fingers along the rim of the wine glass. Seven wine glasses with different water levels represent different music notes. They are placed under a projector, which reflects the shape of the glass on top. The performance shows the meditative music of the piece Floating with the reflection of hand movement of playing the glass and the dripping water on the glass. I believe different audience would have different feelings when experiencing the performance. The music may make them feel magical and inspiring, while it might trigger a memory, to name but a few.
The B major Chord
Installation with blown glass, water & sound, 2019, University of Wisconsin - Madison
Three magnetic stirrers underneath the three glass cups with horn amplifiers cause the stirring magnets in each cup to stir in the water, which create sound and movement of vortex. The sound of each cup is represented by a pitch, which is tuned by changing the water level, as well as changing the speed of the magnetic stirrer. The light green color represents the B music note, while the blue one represents the D# music note and the red one represents the F# music note according to the conversion of wavelength to RGB values. Altogether, it forms a B major music chord. Audience will walk away with positive feelings because major music chord usually brings emotional effects of happiness, cheerfulness, confidence, brightness and satisfaction.
The Passage of Time
Installation with blown glass, metal, wood & sound, 2019, University of Wisconsin - Madison
60 clear glass cups representing 60 minutes in a clock, showing the passage of time with sounds creating from fast-moving clock hand hitting the cups, while light creating the shadows of cups at the same time.
Resonance
Installation with blown glass & sound, 2019, University of Wisconsin - Madison
The reflection from the a spinning magnetic surface underneath the middle glass cup causes the magnet in that cup to bounce which creates sound. The neighboring magnets in each of the cups then cause the synchronous vibration which reinforces sound.