Auditory Scenes : Auditory Scenes: the Chronicle of Seascape

Auditory Scenes : Auditory Scenes: the Chronicle of Seascape (2009 – 2016)
sound compositions, sound performance and photography

Since 2008, the artist has worked on the soundscape project focusing at the sonic adventure on his father’s work place, an huge oil tanker and produced series of works related to the same theme in the occasion of exhibition, residency and live composition. Over past few years in this sonic journey, the project itself is not only conveys the adventure in searching of sounds and soundscape or sonic events in the environment of the seascape form the perspective of the oil tanker wandering around in Hong Kong sea area; but also, at the same, it also corresponds and addresses to the personal relationship between the artist and his father as well as his colleagues on the ship.

Through extensive and continuous recording process in these years, the artist has accumulated different sonic materials corresponding the environment such as the working of the colleagues in the oil tankers, daily life conversations, underwater soundscapes, engines and recordings during the maintenance of the oils tanker. These soundscapes articulate a different perspective on how we think about the industry and the working environment and hence presenting its uniqueness of these soundscape in artistic, cultural, personal and geographical context. Bringing sonic materials together in the works under this project, the works articulate different perspective in the act of listening that is suggested the profound listening as well as cultural and personal listening.

In 2008, the project started with the first titled Auditory Scenes: Tsing Yi (2009) in which the artist explore the sonic environment of the oil tanker during the maintenance period of oil tanker in the ship-building location in Tsing Yi. After the first exploration, the artist also continued his sonic exploration of seascape in Auditory Scenes: a Study for Seascape (2009) by staying with the crew for 10 days. The work presented different sonic materials on the ship articulating the profound listening of the sonic material and a more personal listening associated with language. In 2012, the artist produced a live composition, Auditory Scenes: Nostalgia of Seascape (2012) based on the collections of sonic materials and creates intense and immersive auditory experiences on the soundscape.

In more recent development of this project, the artist also employs the dialogue between the visual documentation and audio materials. Influenced by the avant-garde cinema of James Benning and contemporary literature such as Jean Philippe Toussaint and Raymond Carver, the treatment of the audio and visual materials aims at creating different listening and viewing experiences of the environment which involves the viewers and listeners’ attentive listening and looking in the viewing and listening process of the work. In the forth work under this project, Farewell to HKF Pioneer (2013) starts a new chapter of the project as well as the crew in working a new oil tanker. Documenting the ship-building environment and the launching ceremony in Doumen, Zhuhai and the working process of the crew in the new oil tanker, the dialogue between the audio and visual elements generates an experimental form of narrative and documentation of the seascape, the workers as well as the presentation of the relationship between artist and the workers.


Auditory Scenes: Tsing Yi (2009)
Auditory Scenes: a Study for Seascape (2009)
Auditory Scenes: Nostalgia of Seascape (2012)
Farewell to Pioneer HKF (2013 – 2014)
Auditory Scenes: Doumen (2014)

Hong Kong Sound Station (Para/Site, Hong Kong, 2009)
FUSE artist residency (Videotage, Hong Kong, 2009)
Sound Transmission (CMHK, Shanghai, 2012)
Sonic Anchor (CMHK, Hong Kong 2012)
Lacking Sound Festival (Taipei, 2014)
Inside China (Palais de Tokyo, Paris, 2014)
Inside China (K11 Foundation, Hong Kong, 2014)
Inside China (K11 Foundation,Shanghai, 2014)
Auditory Scenes: the Chronicle of Seascape (100ft Park, Hong Kong, 2016)