Wang Fujui interviewed by Ron Hanson
Essays by Fujui Wang
Chinese text prepared and Proofreading by Yi Lu
1.R:In your performances which involve light and sound you really get taken away by the work as if you are in the trance. You really allow the sound and light to possess you. Can you describe the state you find yourself in during one of these performances.

F:For me, sound performance is carried out through incessant practice and feeling. We don’t necessarily need to perform perfectly and precisely on the stage each time.Yet each time I sense some flaws, I would devote all my effort of the moment and imbue more freedom and uncertainty into the performance.At each instant of performance, I leave the precision behind and let things flow according to the status and my feeling of the moment. Once I enter the depth of performance, the body assumes unpredictability and I feel my existence no longer relies on anything. I leave everything to instinctive movements out of direct perception. Everything is about instinct, and nothing else. It’s like drinking water, it’s about our instinct of connecting the body to nature, which we don’t have to practice. What I deliver through performance is the feeling I invest. Such sincerity will touch the audience and arouse their feelings. They will engage in the sound flow expressed in the performance as well as the particular ambiance in the whole space.


2.R:When you compose works involving both light and sound, where does the idea first come from? Does it start in one area and influence the other? I’m interested in the interplay between these two elements in your work.

F:My work is based on “sound”. Therefore, the starting point, the motivation and the final presentation of my work are conceived mainly on the basis of “sound”. “Light” usually manifests in two ways in my work. One is that light and sound coexist in a space simultaneously. This means that when the viewer sees the light in a work,he or she also hears its sound. With our cranial nerves sensing two things at the same time, this becomes a phenomenon of synesthesia relating to the senses of seeing and hearing, with the two interfering with each other in subtle ways like chemical effects. The other way is to use light as a catalyst. Although both light and sound are transparent, light and slim, light is more directional than sound. In triggering sound through light, the lightness and slimness of light from a contrast with sound of high volume. While we sense both things at the moment, we cannot really touch them. This is the idea behind my work “Sound Light”. When the viewer enters a totally dark space, the work projects a very slim beam which becomes the only means of sight. Once the viewer touches the meam, an extremely loud sound will be produced, creating a sheer contrast and engaging the viewer in an alternation of real and false perceptions.

F:我的創作主要是以”聲音”為主,所以創作的起點與動機包含最後作品的呈現,也都是以”聲音”為最主要的考量。通常”光”在我的作品有二個狀態,其一是光與聲音同時共存在一個空間,也就是當觀者看見作品中的光同時也聽到其聲音,當下是腦神經感知兩者的狀態,這是聽覺與視覺的共感覺,兩者如化學般微妙的交互影響。其二是作品中以光為觸發,雖然光與聲音都具有透明般的輕薄特性,但光比聲音更具有指向性,透過光觸發聲音,光的輕薄與發出大音量的聲音形成對比,我們在當下感知兩者的存在,但我們無法真的碰觸到它們。我的作品『聲光Sound Light』就是希望帶有這樣的想法,當觀者進入全黑的空間中,作品所發出的一條纖細的光柱就變成視覺唯一憑藉,碰觸光柱後觸發巨大的聲響產生一種大的反差與對比,帶領觀眾進入一種感知虛實的交替感。

3.R:You are one of the pioneers of digital art in Taiwan going back to the mid-1990s. It seems with some of the recent exhibitions abroad, Taiwanese digital art is starting to get much more international recognition. Can you tell me about the response to some of this work internationally.

F:I attempt to convey a common experience and feeling through my work. Thanks to my participation in many exhibitions abroad, I got reactions from audience outside of Taiwan. While sound art in Taiwan is still underway, it seems that foreign audiences have a better pre-understanding of this art and its creative context. It happens that some reactions of foreigners correspond better and more deeply to the idea and comprehension of my works. I remember some ideas from foreign audiences after they saw my works, They think although I work with digital, the content and significance still bear my particular tone. They think I show the most precise and mature combinations of technology and nature, rather than exhibiting digital technology. I hope to accumulate a substantial creative base through continuous learning,so that my works represent unique experience and feeling that I sublimate.


4.R:You didn’t start out in art, so it’s been kind of an accidental route for you. What led you into making art, and art of this nature?

F:Before I began to make art,my previous studies in San Francisco represented an important turning point in my life. Through the experience, I learned to be more open toward things and i didn’t necessarily learn in school. I learned from everything I see and hear. Perhaps it is because of this kind of learning experience and accumulation that I still keep on learning from life. For me, art-making doesn’t mean art. Rather,I think my creation gradually moved into the field of art. My participation in Etat sound lab later in 2000 was also a way to make my creation dip into art more deeply. For me, art-making is a natural reaction based on accumulated experience. Whether I travel or read, I always adsorb and transform things into my preoccupations and express them in my works.


【展覽】文字來源:IDOLONSTUDIO 歐亞藝術網絡組織
「LIGHT INTERDICTION」於7/8-8/7 2015 位於費利曼圖市—西澳大利亞州的 PS ART SPACE 藝術展演空間展出此次展覽邀請觀眾沉浸在“某種有些模糊的黑暗之中,並且在這種黑暗中呈現一種流動性,讓光在深度不一的空間中分配,從而讓它展現出最豐富,甚至是最完整的可能出現的變化”。在充滿強烈視覺意味的裝置和更加詩意以及封閉的裝置之間,「LIGHT INTERDICTION」展覽也可以視為一次輕鬆的光的實驗。此次展覽,對話不僅將產生在藝術作品之間,並延伸出一種變化莫測的,流動的場景。參展藝術家:王福瑞、陶亞倫、丁昶文、湯姆・穆勒(Tom Mùller)。
日期:7月8日(三) 〜8月7日(日),共31天
(BY Yi Lu)