Solo Exhibition · Interactive Sound Installation · Mingshan Museum个展 · 可交互声音装置 · 佛山明善博物馆 · 2026
Breaking as Singing碎以为歌
碎以为歌 · Composing with the sound of breaking to rewrite the narrative of shattering用破碎的声音谱曲，以发声重写破碎背后的叙事
This work reclaims the breaking sound most bound to gendered violence — the shattering of domestic ceramics — and places its power of redefinition in the hands of those it once defined.这个声音装置用演奏的方式，干预一套情感编码本身：它取自与性别暴力经历联系最为紧密的那种声音——家用瓷器的碎裂声——将演奏它、重新定义它的权力，交还给曾经被它所定义的人。被施暴者，是这件作品的主体，演奏者，也是叙事的重写者。
Origin
The work emerged from a question about object memory. In autumn 2024, while exhibiting Breaking as Fixing in East London, I encountered a recurring symbol in community narratives about gendered violence: broken domestic ceramics. That shattering sound is not accidental background — it marks the presence of two antagonistic bodies in conflict, carrying the weight of profound trauma. I discovered an emotional encoding already written into sound itself, and asked: can this sound code written into the body be rewritten?
陶瓷碎裂的声音
这个作品始于一个关于物件记忆的问题。2024 年秋天，在东伦敦个展《Breaking as Fixing》期间，艺术家在社区关于性别暴力的叙述中，反复遭遇同一个符号：破碎的家用瓷器。那碎裂的声音不是偶然的背景，它标记着两个暴力对抗主体的在场符号，连接着深刻的事件情绪。艺术家发现了一套早已写就的声音情绪密码，并开始追问：这套写入身体的声音编码，是否可以被重新书写？
The Hand
The hand carries more complex emotional tension than the face. In the moment Apollo catches Daphne, his hand touches her body and she turns into a laurel tree — a scene that became one of the most celebrated images of beauty in the Western canon. In Bernini's sculpture, gendered violence becomes the raw material of aesthetic spectacle.
As the laurel branch pulls the fragments, raising and dropping, the image fragments bounce and reconstruct. It is Daphne's hand that plays. The object of the gaze becomes the subject who creates her own narrative — also breaking the gaze itself. What shatters, therefore, is not only the sonic code of violence, but the very gaze that aestheticizes, elevates, and inscribes such violence into art history.
打破“手”与权利关系的翻转
手，是这件作品的核心元素之一。在动态纠缠中，手比面部携带着更复杂的情绪张力。在神话中，阿波罗追逐达芙妮，用的是手；瓷器被扔出，用的也是手。
达芙妮是性别暴力的幸存者，但在贝尔尼尼的雕塑里，性别暴力，成为审美奇观的原材料。这个作品打碎的，不仅仅是暴力的声音密码，同时也是将这种暴力美化、升华的凝视本身。这只手的图像被打碎，分散在一片片瓷片之间。月桂树是达芙妮的化身，当月桂树牵引着这些碎片，一片片拉起落下击地，图像碎片上下跳动重新组合，同时也演奏出似懂非懂的音乐。演奏的是达芙妮的手，被凝视的对象成为了创造自身叙事的主体，也打破了这种凝视。
When fragments fall, each ceramic shard generates its own irreducible sound curve. Breaking releases not destruction, but individuality. The falling pieces play Für Elise — a melody I return to in moments too difficult for language — transforming the sound of breaking, creating a space where what was destroyed can sing. What remains is the fundamental right to speak oneself into being. Breaking becomes an act of creation; the violence is no longer powerful.
破碎是一种随机产生的独特
当碎片跌落，这种演奏是不精确的，也是无法校准的。每一片从工业化家用陶瓷中破离出来的碎片，都生成了一条独特且复杂的声音曲线，无法被简化为单一音符，就像那些经历暴力的个体。而破碎释放的不是毁灭，而是获得了独特的个体性。
用破碎谱写与创造
《献给爱丽丝》的旋律中藏着艺术家在某些无法言说的时刻，用来度过的情绪。这种情绪与作品的主题叙事恰好吻合。
破碎，不再是加诸于 TA 们之事的语法，而是 TA 们正在成为的声音。
Interactive Mechanism
Broken pieces are lifted, then released — free-falling onto the tile floor in sequence, performing a song. Its acoustic property restores the sound of shattering in that precise moment. Sound is a sensory experience with profound emotional power; this work harnesses sound's neurobiological specificity to intervene in the sensitive subject of domestic violence. A survivor of violence becomes the subject, the performer, the rewriter of narrative — engaging Claire Bishop's theory of antagonistic participation, where true political engagement emerges not from consensus but from genuine shifts in power relations.
互动机制
碎瓷片被提起，再一片接一片自由坠落到地砖上，演奏出一首歌。它的发声方式，还原了瓷器破碎那一刻的声音。声音是带着极强情绪记忆的一种感官；这件作品借助声音的脑神经特质，介入家庭暴力这一敏感议题。被施暴者成为作品的主体、演奏者，也是叙事的重写者——呼应 Claire Bishop 关于「对抗性参与」的理论：真正的政治性参与不来自共识，而来自权力关系的真实转变。
