In my research for site-specific multi-channel work, I remembered reading an article on Ryuichi Sakamoto’s posthumous work – “seeing sound, hearing time “.

Designed for the multiple galleries of the M Woods Museum in Beijing, the work offered audiences a series of multi-sensory spaces that ‘open up and describe parts of the intangible world that were imperceptible to us before’. Each gallery in the museum elaborating on Sakamoto’s concept of ‘installation music’ in which the artist has consciously designed environments for audiences to experience sound within a physical space as an ideal method of sharing music and sound.

Sakamoto utilised the entire museums facilities, spanning from its inside galleries to the rooftop itself. In this way, by physically travelling through the building, the work cohesively connecting its rooms and facilities, the museum became a vessel in which one could ‘enter the sound’, rather than merely acting as a space in which one simply observes.

This view of using a space in symbiosis with the work is one that resonates with me. My spacialisation project , I feel, is subtle enough that it colours the space it is in – not dominating it, re-shaping the rooms intentions and context.

I intend to pursue this philosophy of creating work that can work in peaceful conjunction with a space. I believe there is real, alluring challenge in producing something subtle enough that it blends into an environment yet has enough presence to add colour and hold a listeners attention.