2011年初盧藝從一個什麼都不懂的門外漢，一個四處流浪的國小老師，因緣際會下被福瑞領進聲藝的大門，一步一步慢慢地跟著福瑞工作，從中累積學習，也認識越來越多這圈子的朋友，也因為有大家的支持和周圍的正面能量，盧藝走在跌跌撞撞的聲藝道路上，跨過家庭革命，跨過被誤解的焦慮，也熬過內心茫然的孤單，一直想辦法不要放棄往前走在這條路上。2015年末盧藝從小小行政助手轉變，開始以夥伴的身分與福瑞站上表演舞台，歷經一場又一場的表演後，內心浮現出和福瑞一起辦展覽的想法，展覽規模不需要很大，但卻要很有味道，很能代表倆人歷經長時間的工作磨合成果，無奈卻一直沒有適合的機會與貴人。某一天和Frank Lin（DigiLog聲響實驗室的owenr）聊天後，Frank Lin非常爽快答應幫忙，實現這個一直放在盧藝心中的願望，終於有了結果！
『響相_聲物展 Sound_Object Exhibition』是『Soundwatch Studio 響相工作室』重要的里程碑。大家往往只知道20年前福瑞創辦了台灣最早的噪音雜誌，成就了台灣聲音藝術教父地位之後，現在卻很少人知道福瑞個人創作之外的現況，而至今大家所見到的展覽都以福瑞『個體』創作為主軸，但此展想呈現另外一種創作面相與積澱，也為福瑞盧藝一起創立工作室五年後，另一種緊密合作的微成果。展覽中以手工自製電子裝置為主軸，也預計出一份實體刊物，同時承載展訊外，讓更多人看見注意到工作室本身存在的價值與經歷。同時也可以讓人知道福瑞這些年不單只專注在本身的藝術家事業，與盧藝經營工作室有更多元可能性與更廣的嘗試。
In early 2011, Lu Yi was a jobless elementary school teacher who knew nothing about sound art. Thanks to Wang Fujui’s introduction, she entered the sphere of sound art by chance. Working with Wang step by step, she came to learn and accumulate experience and know more and more friends from the field. With friends’ support and the positive energy surrounding her, Lu has staggered on her way to sound art. During the process, she went through revolutions in her family, overcame the anxiety of being misunderstood and suffered internal confusion and solitude. Yet she has always tried to insist on striding forward.
At the end of 2015, Lu Yi changed her role of administrative assistant into that of creative partner and went on the stage to perform with Wang. After several performances together, she got the idea of making a show with Wang. The show does not need to be big but should have its own style and represent the result of the duo’s long-term collaboration in adapting to each other. Regrettably, there was neither chance nor patron. One day, a conversation between Lu and Frank Lin made the idea come true; Frank Lin openly agreed to help to turn the dream within Lu for a long time into reality!
For many people, Wang Fujui remains the founder who created the first magazine about noise in Taiwan two decades ago. The initiative defined his status as the godfather of sound art in Taiwan. As for his status quo, he is known almost only for his personal artistic practice. Many of his exhibitions now revolve around such “individual” creation. Yet the present show intends to represent another kind of creative aspect and accumulation. It also represents a micro-result of a close collaboration carried out by the studio co-founded by Wang and Lu five years ago. The core of the show is a hand-made electronic installation; there will also be a publication which not only contains information of the show but also attracts more people’s attention about the value of the studio’s very existence and its experience of realized projects. Meanwhile, it reveals that Wang has not only concentrated on his own artistic career in recent years but also opened up more diverse possibilities and wider experiments through the studio he worked on with Lu.