The Aquaspace Series originates from the artist’s long-term practice of collecting and observing underwater sound. Compared to sounds on land or in the air—which can often be quickly associated with recognizable images and sources—underwater sound exists in a state of ambiguity. It is an experience in which one clearly hears something and knows that an event has occurred, yet cannot determine its source or nature.
This mode of listening arises from the absence of vision. The underwater world is shaped by blurred and limited visual conditions: the attenuation of light and the turbidity of water make it difficult to establish a stable spatial understanding. In contrast, sound travels more efficiently and with greater fidelity in water, allowing listening to become a primary means of perceiving the underwater environment.
Under such perceptual conditions, the artist regards underwater sound as a form of information that has yet to be written. These sounds are perceptible, yet their origins and meanings remain elusive, existing in a state between the known and the unknown. The Aquaspace Series is an attempt to respond to this uncertainty of perception.
Through materials such as ceramics, tubular structures, soil, and color, the artist translates the texture, density, and flow of sound into visible forms, enabling viewers to “read” sound through vision. These forms are not representations of the underwater world, but rather acts of speculation and translation—imaginative constructions of the conditions from which sound emerges.
If the Resonance Relics Series functions as the symbolic units of sound, then the Aquaspace Series can be understood as a sonic field composed of these elements. It is not a record of sound, but an intentional composition; not a representation of water, but a reconstruction of underwater perception as an event.
Here, Aquaspace is no longer merely a visible landscape, but a space generated through sound.
「水景系列」源自藝術家長期對水下聲音的採集與觀察。相較於陸地上與空氣中的聲音，往往能在腦海中迅速對應出具體的景象與來源，水下聲音卻呈現出一種難以辨識的狀態，那是一種你確實聽見、也確知有事件發生，卻無法判斷其來源與性質的經驗。
這樣的聆聽經驗，來自於視覺的缺席。水下世界長期處於模糊且受限的視覺條件之中，光線的衰減與水體的混濁，使我們難以建立穩定的空間認知；然而，聲音在水中卻具有較高的傳遞效率與保真度，使「聽」成為理解水下環境的可能。
在這樣的感知條件下，藝術家將水下聲音視為一種尚未被書寫的資訊。這些聲音雖可被感知，卻難以被辨識其來源與意義，處於一種介於知與未知的狀態之間。水景系列的創作，正是試圖回應這種感知的不確定性。
透過陶瓷、管狀結構、土壤與色彩等元素，藝術家將聲音的質感、密度與流動轉化為可視的形式，使觀者得以在視覺中「閱讀」聲音的樣態。這些形體並非對水下世界的再現，而是一種推測與轉譯，是一種對聲音所隱含之發生狀態的想像。
若說「聲譜系列」是聲音的符號與單位，那麼「水景系列」則是由這些聲符所組構而成的聲音場域。它不是聲音的記錄，而是一種具有意圖的編排；不是水的再現，而是對水下感知的事件重構。
在此，水景不再只是可見的風景，而是一種由聲音生成的空間。
