In my previous works, my inquiry has not been into sound as a medium for conveying information, but into how materials generate sound through their own inherent properties. Rather than treating sound as a vehicle for meaning, I have been interested in discovering the latent sonic potential of different materials and, through this process, rethinking the relationship between objects and sound.

This way of working often reminds me of a childhood memory: walking along the street with a tree branch in hand, striking metal railings as I went. At that moment, the railings ceased to function as handrails or protective barriers and became a sequence of hollow metal columns. There was no need to ask whether the action carried any symbolic meaning, nor to assign significance to the sounds themselves. I simply listened to the responses produced by different materials in collision: the muted tap of wood, the metallic clang of steel, and the new resonance that emerged between them. As I continued striking one railing after another, the rhythm and timbre shifted continuously with changes in structure and form. The immediate feedback of vibration, together with the unpredictability arising from a material's shape, texture, composition, and physical properties, gave me the sense that sound could gradually bring me closer to the nature of things—and perhaps to a small part of how the world itself operates.

I believe that the function of an object often conceals its material existence. Noise, misuse, and malfunction, however, offer opportunities to encounter it anew. When an object departs from its intended use—or when its prescribed function begins to fail—the physical qualities normally hidden beneath utility start to emerge. The sounds it produces are no longer incidental noise, but manifestations of the material's own condition. When these sounds exceed our habitual expectations, perception momentarily fractures. It is within this brief rupture that curiosity and imagination often arise, much like splitting open a stone and unexpectedly discovering a vein of jade beneath its surface.

My solo exhibition "Sonic Alchemy" is built around the idea of "transmuting sound." For me, alchemy does not simply mean making or manufacturing; it describes a process in which different elements interact through the application of energy. That energy may take the form of electricity, heat, vibration, interference, or any other condition capable of transforming the state of matter. To transmute sound is to create situations in which materials generate sound according to their own physical properties, allowing new relationships to emerge through their interactions. Sound is therefore not a predetermined outcome but a trace left behind by encounters between different forms of matter. Perhaps, through these interactions, sound can momentarily crystallize into something both fragile and poetic, inviting us to perceive once again those material realities that everyday function has long concealed.

在過往的創作中，我持續探究的並非聲音作為傳遞訊息的媒介，而是物質如何透過自身的特性生成聲音。我試圖尋找各種材料發聲的可能性，並在這個過程中重新理解物與聲音之間的關係。

這個過程讓我想起小時候拿著樹枝沿路敲打鐵欄杆的經驗。那時，欄杆不再是供人扶握或作為安全防護的設施，而是一排連續的空心金屬柱。敲打時，不需要思考這個行為是否承載著某種意義，也不必賦予聲音任何象徵，只是單純地感受不同物質碰撞所產生的回應：木頭敲擊時發出「啪」的一聲，金屬回應「鏘」，兩者交會後形成另一種聲響；沿著一整排欄杆持續敲擊，節奏與音色又隨著結構的差異不斷改變。這種來自震動最直接的回饋，以及物質本身因形體、紋理、材質與物理特性所帶來的不可預測性，總讓我感覺自己彷彿正透過聲音逐漸接近物的本質，也接近這個世界運作的一部分。

我認為，一件物品的功能往往遮蔽了它自身的物性，而雜訊、誤用或故障，反而提供了重新認識它的契機。當一個物件偏離原本的使用方式，或部分失去既定功能時，那些平時隱藏於功能背後的物理特性便開始顯現。它所產生的聲音不再只是附帶的噪音，而是材料自身狀態的展現。當這些聲響超出我們既有的經驗與預期時，感知便會產生短暫的斷裂，而趣味與想像也往往從這道裂縫中浮現，如同切開一塊石頭，在斷裂面意外發現一抹玉色。

個展《煉聲術》以「煉成聲音」作為整個展覽的核心想像。對我而言，「煉」並非單純的製造，而是一個使不同元素彼此作用並施加能量的過程；這個能量可以是通電、加熱、震動、干擾，或其他足以改變物質狀態的條件。所謂「煉聲」，便是在這些條件下，使不同材料依循自身的物性產生聲音，並透過它們之間的交互作用，建立新的關係。聲音在這裡並非預先設計的結果，而更像是不同物質相遇之後自然形成的痕跡。或許，在這些媒介彼此作用的過程中，聲音能夠凝聚成一種短暫而具詩意的結晶，使人重新感知那些原本被日常功能所掩蓋的物。