Embodying the Scenery of Ecology

About the work

In this piece, Po-Chun Liu utilized welding methods to modify the composition of various stainless steel and metal components. Mimicking corrosion, a welder was used to bore numerous holes throughout the surface of the hollow scaffolding tubes which have been assembled into stage scaffolding reminiscent of traditional open-air theatrical performances. This includes components which were altered through mechanical means, such as a metal foot created through the continuous stacking of molten metal, as well as the nostalgic designs of the lighting fixture, the benches lined up in front of the stage, and the broadcast speakers mounted atop the scaffolding. This piece repeatedly urges the viewer to continually excavate their collective memories through the artist’s modern technique.

Liu also placed four microphones made of stainless steel in various locations throughout the environment, to instantaneously transmit the sounds back to the stage to be broadcast live. These sounds include that of flowing water, birds chirping, people conversing, and cars starting up. These are meant to further accentuate the artwork’s concept of the juxtaposition of different times, spaces, and environments. These various sounds are captured and presented in a concerted manner. The audience can also choose to speak into a fifth microphone, giving them the choice to participate in the art piece. The addition of the auditory experience elevates sculpture from being more than just a visual and tactile encounter into a new manner of perceiving art, urging the audience to interact with the artwork. Viewers can also choose to sit on the benches installed by the artist and observe this stage which, on the surface, looks as if it was weathered by time. What new perspectives can we see or hear by focusing on a bustling scene that exists in another time and space?