Sharing experience with electronic parts
分享用電子零件的心得

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Any sound, any noise can be music. It all depends on the ear of the listener. If the listener is also a musician, or a sound designer, or an artist that plays with noise and sounds, then the universe of sounds can evolve like any organic entity. It will then grow from a collective memory of noises and sounds, infinite libraries, and above all from the artist praxis, which is not only a musical construct of silence, noise (white noise too), sound, tempo, but an ideological statement about the value of music in society. It will be an individual statement on things, energy, life, love, about joy and sadness, about friendly and hostile environments, about nature, about the unknown. If all this happens with tongue-in-cheek, as it does in Cheuk Wing Nam artworks, playing with presence, memories and digital time, then it’s not only contemporary art but post-contemporary too.

Antonio C-Pinto

Updated on 2nd Apr, 2017

In my artwork, I always attempts to display the similarities and/or contradictions between concepts and cultures. Deconstruction and assemblage are my practices of making artwork. The target maybe a material, a concept, a system or a phenomenon.

My artworks always carry a tone of humor where rejection and contest become imperative elements. “To interact or not to interact” is always one of the ironical element in my artwork.

I believe that sound could be a metaphor of some natural phenomenon as well as some city status. My work is about expressing my passion about soundscape relationship between human and nature.

Cheuk Wing Nam

在我的作品中，我經常試圖指出概念與文化的相同或矛盾之處。解構和組合是我製作作品時經常使用的手法。對象不單止是物料，也可以是一種概念、一種系統或是一種現象。

我的作品總是有幽默詼諧的特質，拒絕互動但又令人想去互動成為作品的一種獨特元素，也是對媒體藝術必需要互動的一種諷刺或疑問。

在我的作品裡聲音也是一種重要元素。因為我相信聲音本身是一個文化載體。而我的作品是利用這載體去比喻甚至去表達一些自然現象和一些城市狀態的關連。

卓穎嵐