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藝術家/吳燦政 Wu Tsan-cheng

photo|天下雜誌 微笑台灣 陳健豪

1973年生於臺灣雲林,國立臺灣師範大學美術系、國立臺南藝術大學造形藝術研究所畢業。發表了首件聲音裝置作品《夜鶯》,作品不斷實驗視覺與聲音的音像關係,認為聲音可以嵌入符號與訊息,牽引出震撼人心的力量,並觸動身體知覺產生情感連結,層層開啟聲音伏隱的豐富層次,如作品《N+Syn》中以早期夜視攝影機,藉由鏡頭低拍穿越草叢之際所產生的細微聲響,召喚感知經驗觸碰草叢的身體記憶,其中粗糙的視覺畫面,一反科技追求清晰高端影像的視像模式;他將影像投映於天花板上,使觀者在仰視疲累之際,低頭的片刻,聲音「自然」成為視覺之外被傾聽的主角。作為強調身體性參與的創作,他說:「視覺影像總能抓住你我的視線,將你引向某一方向,但是聲音必須由你走進,進入,穿越它,當你進入聲音時,你的身體會微妙地改變周圍的聲音,而聲音也將穿越你的身體」。以此開啟視像、聲訊、音景與感知在當代美學文化視野的面向探討。 2009年萌生製作《臺灣聲音地圖》的構想,以十年的時間足跡遍及臺灣各地,實地集錄聲音並整合Google Maps地圖定位功能,完整呈現聲音的內容在時空變化過程中的差異與現象。近年仍持續此計畫,透過聲音地圖及其映射,讓觀者在聲音體驗中思考自身與生活環境的關係。

Born in Yunlin, Taiwan in 1973. WU graduated from the Department of Fine Arts, National Taiwan Normal University, and the Graduate Institute of Plastic Arts, Tainan National University of the Arts. WU’s work reveals an unending experimentation of the relationship between image and sound. His first sound installation was Nightingale. For him, symbols and messages can be embedded in sounds to generate powerful forces that trigger physical perception and emotional connection, unfolding rich, hidden layers in sounds. For example, in N+Syn, WU used an early night-vision camera to film and capture from a low angle the rustling sound as he traversed an area of grass, evoking the memory of physical perception of touching grass and creating a contrast between the rough visuality and hi-definition images made possible by technology nowadays. WU then projected the video on the ceiling; when audiences lowered their heads after feeling tired from looking up, sounds “naturally” replaced vision and became the dominant element at the moment. Putting an emphasis on bodily perception in his work, WU said, “visual image can always catch our eyes and guide our attention to a certain direction; on the other hand, you must walk into and through sounds. When you enter an environment, your body will subtly change the surrounding sounds, and those sounds will go through your body as well.” With this concept in mind, WU has opened up a different dimension in discussing image, sound, soundscape and perception in contemporary aesthetics and culture. In 2009, WU conceived the idea of Taiwan SoundMap Project, and planned to spend a decade visiting numerous locations in Taiwan to record and collect sounds. The project has also been integrated with the positioning function of Google Maps to fully represent the variations and phenomena in audio content in the changing time and space. The artist has been working on this project; and through his sound maps and what they have reflected, audiences are encouraged to contemplate on the relationship between their lives and the living environment in the sound experience.




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