As an artist duo, we found the most prominent mutuality not only in our overlapping cultural upbringings but also in the ways of which we perceive and process our surroundings — through foraging, mapping, and archiving. Our practice centers on cultivating tenuous links between the ephemeral and the permanent, the dispersed and the contained, the subjective and the objective as a metaphor of movement between the present time and the deep narrative of history. Our work speaks to environmental concerns and human dislocation of space with a submerging current that resonates with the notion of alterity reflected in the ways of which we situate ourselves in the world.
We construct visual and aural assemblages in relation to the senses and the space, enabling a tactile approach to combine and activate image, form, and sound in each installation. Our collaborative practice is based on our backgrounds in visual arts and sound studies, and informed by archeological, geologic, and environmental narratives. The creative process takes place both in the studio and in the outdoors, during which territory and material, research and experimentation, craft and technology begin to exert influences on one and another.
We not only collaborate with local communities and institutions but also engage in process-based interactions with the landscape — from mapping our journey in the American Southwest using sound recordings and photographs to making ceramics in-situ using wild clay sourced in archeologic river canals in the most arid desert of Chile, to chasing metal into the shapes of rocks in the frozen waterfall in the Hudson highlands. Our work proposes an alternative mode of experiencing and empathizing with the land, one that does not consider the landscape as a static subject but as an active agent representing the constant flux between human and natural histories.
Bicheng Liang (b. 1994, China), lives and works in New York and Beijing. He investigates the human relationship to time, scale, and meaning through processed-based interactions with sites and materials. In Liang’s practice, the printmaking process, masking, transferring, coalescing a repository of information is set in dialogue with photography, sculpture, ceramics, and sound. Exploring structures in nature through mediated perceptions, Laing’s work sets an intimate environment, with physical gestures such as tearing, molding and suspending accumulating into a layered narrative.
Yixuan Shao is an artist based in New York. Shao’s practice is one of listening as much as it is one of making —— listening, not only as a physiological function but also as a subjective internal experience. She engages the sonorous, visual, and organic properties of materials through research and experimentation, and creates sculptural installations to gauge the physical space while inviting the viewers to take parts with their own subjectivities. Her work materializes inner resonances in visual forms. Exploring and contemplating on the contradicted yet connected margins of noise and silence, Shao’s work is in dialogue with how we change and change with the space around us.