Thank you for visiting my art journal, a space where I reflect on my evolving practice, explore new concepts, and share the ideas that shape my work.
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DEUS: 088/26812—81 REX-13: 978-0882681/283Intro:
Whisper is a multifaceted exploration of sound, space, and human interaction, integrating elements of physical computing, sonic experimentation, performance art, and light reflection. This practice was inspired by James Joyce’s novel Finnegan's Wake, which profoundly influenced the project's conceptual framework. The performance incorporated Greek, the Philippine Indigenous language, and English. I utilised physical computing tools like Arduino and self-built sensors to capture and manipulate ambient sounds within the performance. Microphones and sensors collected subtle sound vibrations and bio-electric signals from the throat, which were then processed in real-time to generate visual patterns using TouchDesigner on projection mapping.
1,
This performance is the culmination of my two years of MA study. From the very first sketch night, one thought has lingered: What happens after people die? What does dying mean to those left behind? During the global pandemic, many of us lost loved ones unexpectedly. Neighbours were taken to hospitals and never returned, and we didn't even have the chance to say goodbye. For some, even arranging a funeral became impossible. People left us forever after seeming as though they had only a mild illness.
These reflections and nearly a year of self-quarantine led me to question my existence: Who am I? How am I different from the mice in their cages? How do I know I exist? And why am I still alive? While the world seems to have moved on after almost three years, as if nothing has changed, I cannot.
While my performance incorporates other ideas from my research and practice, I feel it’s only fitting to begin this journey by reflecting on this profoundly personal thought.
2,
In this performance, I explore the intersection of time and memory, seeking to understand how fleeting moments shape our sense of identity. I’m particularly interested in identity as personal and relational—how we understand and connect with others, our place in the world, and our relationship with the environment.
I aim to look back to ancient times, before language, reading, and writing, and consider the senses we used to understand one another and the world around us. I’m not attempting to fully replicate ancient rituals or ceremonies (though they are a crucial part of my research); instead, as a modern person living in an era shaped by technology and science, I wonder if we can still comprehend the world and ourselves as beings deeply connected to nature, much like our ancestors did. Thousands of years ago, they held fire to understand the night and stars while other creatures fought to survive. Can we, too, reconnect with this primal understanding?
3,
The performance started with a structured framework. I dedicated significant time to developing a spoken visualisation system using TouchDesigner, physical computing, and Isadora. However, as rehearsals progressed, I gradually leaned more toward improvisation, allowing the energy of both the audience and the performers to guide the movements on stage. I discovered that when my actors and I fully trusted one another, without needing precise, inch-by-inch direction, we could communicate genuinely on stage—without words.
This brought the performance back to its core idea: Can we understand each other without prejudice, language, or clear guidance? Can we still entirely rely on our senses to connect, create, and comprehend the world around us?
After reading Samuel Beckett’s philosophy of treating language as a series of marks, I think of using mark-making as ‘language’ in this practice. Words in language are shaped by context, syntax, and semantics. By experimenting with fragmented and seemingly meaningless words, I sought to capture the essence of language as both a medium and a message, mirroring the abstract and symbolic nature of drawing.
4,
Standing still for long periods brought an unexpected sense of calm, showing me how stillness can hold immense power in a world constantly in motion. The interplay between the audience’s reflections on stage, the actor’s reflection in my drawings, the dancer’s movement, the non-verbal human sounds, the ritualistic communication, and the technology integration became valuable parts of my practice. After this performance, I felt a sense of healing, as though I had somehow forgiven the world.
The feedback I received from the audience was similar—they expressed that they, too, felt a sense of healing. Even though we hadn’t set out to create a healing space on stage, the experience made me realise that the question I explored through the performance is worth delving into further. The world is beautiful, but perhaps for some of us still need to find moments and reasons to forgive it.
One audience member’s reaction surprised me: they saw the piece as a commentary on social isolation. It wasn’t my original intention but added an unexpected and enriching layer to the work.