Material Topology
Material Topology, Ke Peng, Bryan Yueshen Wu, Zhao Jiajing. 2023. Dimensions Variable.
"Material Topology" is a dome-based audiovisual short film that explores materiality at different scales. It magnifies the subtle changes in the microcosmic world within an immersive space, prompting the audience to contemplate the similarities and chaotic patterns among entities of various dimensions.
Inspired by topology's geometry, it reveals how seemingly different objects may possess identical structures, and a mutual mapping exists between micro and macro scales.
The image of the work uses a high-definition macro camera to capture and magnify the dynamic variations of fluorescent powder particles influenced by sound vibrations, projected onto a giant dome. Within the encompassing dome environment, even the tiniest material changes are highlighted, evoking awe and imagination.
Simultaneously, the sound experience combined with the changes in vision travels through the entire auditorium, leading the audience to immerse themselves in a world full of chaotic particles. Here, the scale of human beings is minimised, as if merging with matter, feeling the dramatic contrast between the microcosm and the macrocosm.
Oceanosmos
Oceanosmos, Chang Meng, Ke Peng, Zhao Jiajing, Zidi Gong,Yueshen Wu. 2023. Audio Visual Installation. Dimensions Variable.
"Oceanosmos" is an immersive audio-visual installation inspired by the "oceanic feeling,” as described by writer Romain Rolland. It aims to convey a sense of the infinite and eternal, where the self dissolves, merging with the external world. Freud interpreted this "oceanic feeling" as a primitive self-awareness retained from infancy.
"Oceanosmos" creates an immersive space using spatial sound, laser planes, projections, smoke, and water interaction to explore this "oceanic feeling" – a spiritual experience where the self and the world become one.
It features an Ambisonic multi-channel spatial sound, create a generative immersive sonic landscape by sounds from the ocean and within the human body. The installation composed by multiple womb-like glass sculptures and programmed mechanisms which create ripples on the water's surface, constantly modulating the light in the space. It aims to dissolve the boundaries of the self and explore the relationship between the internal and external.
Artist Interview
Q: In this new edition of the UAAD online magazine, we're exploring the theme of "[Matrix] of the [Not-Yet]." How would you interpret these two words, and how do you see your work aligning with the concepts of [Matrix] and [Not-Yet]?
"Matrix" is an array, a combination, a collective of diverse elements, bringing together various possibilities. "Not-Yet" represents an uncertain, unfinished state. It's a continuous process rather than a completed one, hence it holds infinite potential for development and has blurry boundaries. One aspect of my work that aligns with these concepts is the comprehensive nature of the mediums I employ. For instance, in my audio-visual installations "Oceanosmos," we integrate not only digital media but also physical materials, exploring the intricate relationships between the two as they interact. Through the synthesis of water, light, sound vibrations, fog, and space, people experience a dissolution of boundaries, while highlights connect things, creating a state of mutual influence and continual transformation.
Q: We are very interested in the trajectory of your creative practices and their connection to the theme. Could you provide us with a little more information about your background?
I pursued my undergraduate studies in Digital Media and further specialized in Information Experience Design, combining art and technology during my graduate studies. My personal interests have gradually shifted towards audiovisual art, multimedia performances, and immersive experiences. As an artist skilled in creating visuals, I collaborate extensively with individuals from diverse backgrounds to create multimedia installations and performances. For instance, I recently collaborated with dancers and composers to create a multimedia dance performance, and I have previously worked with various sound artists on audiovisual performances, installations, and videos.
Q: The creators participating in this magazine work across various mediums, including moving images, interactive installations, music composition, etc. What factors influence your choice of medium for your works?
My choice of medium is primarily influenced by my personal interests. Lately, I've been particularly captivated by specific physical phenomena and tangible materials. For instance, in "Oceanosmos," I delve into the interplay of light, capturing its dynamic changes refracted through glass and water, as well as the ethereal shapes it forms in fog. In "Material Topology," inspired by cymatics, I amplify the intricate dynamics of microscopic materials within a dome space, inviting viewers to feel the vitality of matter and immerse themselves in shared vibrations.
Creating immersive experiences is another driving factor in my work. Achieving this often involves stimulating multiple senses—sight, sound, and even touch (via vibrations). As a result, I frequently collaborate with artists from diverse backgrounds to craft comprehensive works that merge multiple mediums.
Q: How does your work reflect or actively engage with the cultural and social dynamics of your community or the communities you interact with? Are there elements in your art that seek to bridge, disrupt, or transform these dynamics?
My work is deeply rooted in my fascination with the intersection of technology and sensory experience. I incorporate various technologies like spatial sound, dome projection, and interactive installations, drawing inspiration from the communities of new media art and sound art. However, my intention isn't solely about showcasing technology; rather, I strive to create an immersive experience that prompts individuals to reconsider their reality. I'm drawn to the abstract and open-ended nature of art, providing a space for the flow of energy rather than imposing rigid interpretations. This approach reflects a deep commitment to exploring and nurturing spiritual or communal connections through art. For example, "Oceanosmos" delves into profound cultural and existential questions about the self and the world, inviting viewers to contemplate these themes on a deeply personal level.
Q: What real-world strategies or methodologies do you employ in your art practice to manifest your visions of the future? How do these tactics serve as forms of resistance or intervention within the current socio-political landscape?
In considering the future, my art practice involves not only embracing and utilizing new technologies but also reflecting on them and interpreting them from diverse perspectives. Therefore, my work is not merely a logical demonstration or mere visualization of new technology; it also incorporates sensory elements. The messages conveyed through sensory experiences and intuition can wield significant influence. I don't believe that all information needs to be conveyed as precisely as text and numbers; certain experiences can evoke resonance and provoke profound thought in people. For instance, when addressing environmental issues, the impact of Olafur Eliasson's "Ice Watch" can be more compelling than analytical data alone. Art has the potential to function as a deeper and more potent form of communication, inspiring reflection on phenomena and offering fresh perspectives on the world. I believe that this can be inspiring and transformative for various socio-political matters.
Q: How do you hope your work impacts its viewers or participants, particularly in terms of rethinking potential futures or alternate realities? Who do you perceive as your audience?
I hope my work will evoke a sense of interconnectedness among all things. In "Oceanosmos," the fusion of sound and light creates a space where boundaries blur, fostering a feeling of unity with the environment. Similarly, "Material Topology" explores the connections between objects of varying scales, immersing viewers in the resonance of matter.
My work is influenced by the philosophical ideas of New Materialism, particularly Jane Bennett's book "Vibrant Matter," which suggests that everything should be understood as active participants in a continuously influencing and changing network of relationships. This concept shares similarities with ancient Chinese Daoist philosophy, which emphasizes the ever-changing nature of the Dao and our interconnectedness within the forces of nature.
Thus, I aim to convey this interconnectedness to my audience, allowing them to experience it. We all exist within a complex web of relationships, interdependent and inseparable. I believe fostering this awareness can lead to a greater harmony with the environment, shifting away from anthropocentrism towards a more harmonious relationship with all beings.And I hope my work is open enough to welcome people to bring their own perspectives and experiences without encountering barriers to understanding.
Q: As a creator, what do you see as the threats or uncertainties we will face in the coming decade?
I hold a generally positive attitude, despite many external factors such as climate issues, political conflicts, and unexpected threats like the COVID-19 pandemic, which have varying degrees of impact on our creative pursuits. While these factors pose challenges for creators, I believe they also present opportunities for us to innovate and explore new approaches.
Q: What motivates you to continue creating as an artist?
I hope my work will evoke a sense of interconnectedness among all things. In "Oceanosmos," the fusion of sound and light creates a space where boundaries blur, fostering a feeling of unity with the environment. Similarly, "Material Topology" explores the connections between objects of varying scales, immersing viewers in the resonance of matter.
My work is influenced by the philosophical ideas of New Materialism, particularly Jane Bennett's book "Vibrant Matter," which suggests that everything should be understood as active participants in a continuously influencing and changing network of relationships. This concept shares similarities with ancient Chinese Daoist philosophy, which emphasizes the ever-changing nature of the Dao and our interconnectedness within the forces of nature.
Thus, I aim to convey this interconnectedness to my audience, allowing them to experience it. We all exist within a complex web of relationships, interdependent and inseparable. I believe fostering this awareness can lead to greater harmony with the environment, shifting away from anthropocentrism towards a more harmonious relationship with all beings. I hope my work is open enough to welcome people to bring their own perspectives and experiences without encountering barriers to understanding.
Q: Are there any theories, books, or artists you would like to recommend in your current areas of interest?
I'd like to share a book that I recently encountered during a visit to the small town of Glastonbury in England called "Tao of Physics." This book explores the parallels between Eastern philosophical thought and modern physics, such as quantum mechanics. Despite being published several decades ago, it is remarkably insightful, highlighting the similarities between ancient Eastern philosophers and cutting-edge scientific theories when it comes to understanding the nature of reality. Reading this book has also led me to explore concepts in modern physics like string theory, providing me with a lot of inspiration to see our world from a more fundamental perspective.
Q: If you could possess a superpower, what would it be?
I'd like to experience the world in four dimensions or even higher dimensions.
About the Artist
Ke Peng (PK) is a London-based multidisciplinary artist with a passion for exploring the intersection of visual, sound, motion, and new materialism. Ke's artistic practice encompasses a range of styles and mediums, from abstract motion graphics to audiovisual installations and performances.Influenced by the philosophical concepts of new materialism, vibrant matter, and interconnectedness, Ke's work delves deep into the invisible world of science phenomena and active matter, creating an otherworldly sensory experience that reveals the hidden patterns and movements of the world around us.Through her art, Ke aims to make the invisible manifest, challenging our perception of the world and pushing the boundaries between physical and digital realms. Her work is a fusion of art and science, elegantly exploring the complex interplay between materiality, motion, sound, vibration, and light.Her work has been exhibited and performed at various international events, including V&A Museum(UK), The Centre Pompidou IRCAM Forum(FR), Taiwan Contemporary Culture Lab(CN), Society of Arts and Technology(CA), London Design Festival(UK), IKLECTIK Artlab(UK), OXO Tower(UK), Media Art Nexus (SG), Shanghai West Bund Museum(CN), and Strawberry Music Festival (CN).