I first encountered laser microphones through a video demonstrating optical eavesdropping technology. Although the technology itself is far from new, it opened an entirely new direction in my investigation of sonic signals. Unlike most wireless transmission methods, laser-based listening amplifies the fluctuations of light directly, allowing me to interfere with the transmission within visible physical space. At the same time, because the medium is light, it occupies an ambiguous territory between the visible and the invisible - we can see light, yet we cannot perceive its rapid flickering; we can hear sound carried by light without seeing any physical medium connecting the source and the receiver.

In this series, light is treated neither as illumination nor as an image, but as a carrier of information. I am interested in how it can transmit, reveal, and translate signals that are otherwise inaccessible to direct perception. While light is conventionally understood as a medium for seeing the world, I ask whether it can also become a gateway to another mode of perception. By converting the fluctuations of light into sound, the works temporarily grant the audience a sensory experience unavailable in everyday life. Through these installations, I seek to reconfigure the boundary between seeing and listening, allowing light not only to be seen, but also to be heard.

Detection is another central concept throughout this series. Precisely because light exists between visibility and invisibility, it possesses the capacity both to reveal and to conceal, becoming a medium through which the unknown can be imagined. I am drawn to phenomena that can only be sensed indirectly—flickering light, barely perceptible low-frequency vibrations, unexplained phenomena, mythical creatures, or signals whose existence can never be fully verified. People rarely believe in such things because they have seen them directly; rather, they are convinced by traces, anomalies, and inexplicable signs that allow the unknown to remain suspended between reality and imagination.

These imaginaries are never created from nothing. They are inevitably grounded in our scientific knowledge, cultural narratives, and perceptual experiences. I find this possibility profoundly compelling, not only because it reflects the limits of our understanding of the world, but because it points toward something that always remains just beyond our reach. The continual act of approaching, sensing, and probing that unknown distance may itself be a way of resisting nihilis

有一次無意看到雷射間諜麥克風的視覺竊聽技術相關影片，我發覺這為我對聲音訊號的研究上開拓了一條新的路徑，儘管這不是一項非常新穎的技術，但不同於其他無線傳輸的技術，將光的波動直接放大的方式讓我可以直接在看得見的物理空間中對其進行干擾，又因為是光，它創造了一個介於可見與不可見的曖昧空間：我們看得見光，卻看不清光的快速閃爍，我們透過光聽到聲音，卻沒看到任何實體線材的傳輸......。此系列的光不作為照明工具或是影像，而是一種訊息的載體，關注如何攜帶、揭露與轉譯那些原本無法被直接感知的訊號，光通常被視為觀看世界的媒介，然而，光是否也能成為另一種感知的入口，當光的波動被轉換成聲音，人們便暫時獲得了一種不存在於日常經驗中的感知方式。我試圖透過作品重新配置觀看與聆聽的界線，使光不再只是被看見，而是能夠被「聽見」。

「探測」是這個系列的另一個核心概念，正因為光介於可見與不可見之間，它既能揭露事物，也能隱藏事物，因此成為承載未知想像的一種媒介。我對那些只能透過痕跡被感知的存在感興趣，無論是光中的閃爍、若有似無的低頻振動、未知現象、神秘生物，甚至無法被證實的訊號，人們往往並非因為真正看見它們而相信其存在，而是因為某些難以解釋的徵兆，使未知得以停留在真實與想像之間，這些想像勢必或多或少奠基於人類的科學、文化與感知經驗，我認為這樣的可能性是迷人的，他不僅反映了人類對於自身文明的認知，它也代表著某種尚未觸及的遠方，而持續的接近與探測那個遠方，也許也是一種對抗虛無的方式