Installation View, Artwork ©Matt Hope
"人们感兴趣的外部事物实际上是雕塑的形式。"
万物都处在绝对的运动之中，运动产生碰撞、产生力，于是，不可见的声波涟漪从物自身向外扩散。
All things are in a state of absolute motion, where movement leads to collision, and thus force. Consequently, invisible sound waves ripple outward from the object itself.
Installation View, Artwork ©Matt Hope
Matt的装置并不仅仅是发声的载体，还要使声音可视化，成为可触摸的实体。
Matt's installation is not just a vessel for sound, but also a means to visualize it, transforming sound into a tangible entity.
An attempt at randomness, 80×120cm, random noise, ink 随机噪声、墨水, 2022
此次展出的作品 An attempt at randomness 是噪音的可视化的一个例子。Matt在填充预先设定好的格子时，没有借助任何工具，而是依靠直觉和手感的控制，模仿着计算机的视觉效果。噪音在这里对应的是“信息”，随机生成的无意义的图形、“手绘”的冗余中包含着创作主体的信息。
The exhibited work An attempt at randomness is an example of the visualization of noise. In filling the predetermined grids, Matt didn't rely on any tools but used his intuition and tactile sense, imitating the visual effects of a computer. Here, noise corresponds to 'information' – randomly generated, meaningless patterns, and 'hand-drawn' redundancies that contain the creator's message.
Installation View, Artwork ©Matt Hope
Matt了解，那些对“主体性”的猛烈追求，不过是人文主义虚张声势的偏执表达；人与机器之间的差异正在消弭，二者间细微的不同才是人性最后的落脚点。Matt对技术和设备品质那种苛刻的要求和探索，也就显得不那么突兀了。因为它们不是替艺术家表达的传声筒，而是一个为自己发声的物。
Matt understands that the fierce pursuit of 'subjectivity' is nothing more than a paranoid expression of humanistic bluster; the difference between humans and machines is diminishing, and it's these subtle variations that represent the last foothold of humanity. Matt's stringent demands and explorations of technology and equipment quality, therefore, don't seem so abrupt. They are not merely conduits for the artist's expression, but entities that speak for themselves.
Installation View, Artwork ©Matt Hope
设计的过程是理性的、数据的、公式的、程序的、这看似客观的创作方式，在自我推演中仍会出现振动和偏差，最后的作品更像是实验结果，充满矛盾和悖论，具有美感但存在于结构、原理、材料和工程理论之后。
The design process is rational, data-driven, formulaic, and procedural. This seemingly objective approach to creation still experiences vibrations and deviations in its self-evolution, resulting in a final work that is full of contradictions and paradoxes, aesthetically pleasing but existing beyond structure, principles, materials, and engineering theories.
Installation View, Artwork ©Matt Hope
Q：是从Rave文化开始对声音和装置这个结合的创作形式感兴趣的吗？是什么契机将这些不同领域的知识融入艺术创作中的？
A：更多的是电子音乐的硬件、设备机架的布线、狂欢派对上扬声器系统的醒目外形，这些直接放置在地板上的巨型音箱让人感觉非常具有雕塑感。它们棱角分明，有着奇特的开口和嘴巴。我积极建造自己的扬声器系统，因此它们自然而然地融入了我的艺术作品中。声音和雕塑很少相遇，所以我觉得这是一个很好的探索领域，而且似乎是正确的方式。
Q: Was it the Rave culture that sparked your interest in combining sound and installation in your creative form? What motivated you to integrate knowledge from these different fields into your artistic creations?
A: It was more the hardware of electronic music, equipment racks cabling, the striking shape of the speaker systems at raves felt very sculptural placed directly on the floor in giant stacks. They were very angular, had curious openings and mouths. I was active in building my own so it seemed natural that it crossed into my Artwork. Sound and sculpture rarely encountered each other so I felt this to be a good area for exploration and just seemed the right way.
Wave Crash Reflect, 100×70×80cm, Steel painted, stainless steel electronics 喷漆钢， 不锈钢，电子部件, 2022
Q：你的大型装置作品更适合户外展出，它本身也是需要自然的声音才能完成的作品，但为什么 Speaker Obscura 首次展出选择在室内空间？
A：Speaker Obscura 作品充满了矛盾。乍一看，它似乎想在室外展出，但它又太过精致，我觉得这件作品想要把画廊延伸到室外的大空间，就像一个无限的虚拟声场。SIMULACRA为这件作品的最终展示提供了完美的空间，因为它的美学与之相匹配。感觉就是对的。
Q: Your large-scale installations seem more suited for outdoor display, and they inherently require natural sounds for completion. However, why was Speaker Obscura first exhibited in an indoor space?
A: The Speaker Obscura Piece is riddled with contradiction. At first glance it seems it wants to be outdoors but it is far too delicate, I feel the Artwork wants to extend the gallery into an outdoor large space, like some infinite virtual sound stage. The space at Simulacra provided the perfect opportunity to finally show this work as the aesthetics matched. It just felt right.
Speaker Obscura, 550×200×300cm, aluminium, stainless steel 铝，不锈钢, 2008 – 2023
艺术家于SIMULACRA
Q：你的创作更多的是理性思维，尽可能减少你个人情绪对作品的影响，是如何找到这条创作路径的？这也是你刻意为之的吗？
A：我的创作通常以理性思维为基础，将各种事物组合在一起，它们会产生某种效果，但最终的结果可能出乎意料。大量的精力被消耗，材料被移走，时间流逝。这些理性的程序并不是百分之百可靠的，世界会对其做出反应或抵制，故事由此展开。这条路一直在自我演变，它就是这样发生的。就像你在森林里散步，突然发现自己迷失在森林里了。
Q: Your creations are more a product of rational thinking, aiming to minimize the influence of personal emotions on the artwork. How did you find this creative path? Was this a deliberate choice?
A: My Artwork often uses rational thinking as a basis, things fit together, they do something but then the end results can be unexpected. A lot of energy is expended, material removed or time passed. These rational procedures are not full proof, the world reacts or resists them, story unfolds from this. This path has been self-evolving, it just happens this way. You go for a walk in the woods, you suddenly realise you are lost in forest.
Around 5 seconds, 100×120cm, stainless steel, painted steel, electronics 喷漆钢， 不锈钢，电子部件, 2019
Q：从2008年来到中国的时候你有很多工业化遗留的产物相关的作品，你本身是对于体制，集体发展有很大的兴趣吗？
A：工业废料的外壳就像是人类的技术剥离。废弃的弹壳、包装和车辆。人类就像寄居蟹一样，每隔 20 年左右就会借用和栖息新的壳体，重新混合升级。装饰艺术、粗野主义、参数化设计等全球性运动，以及它们如何独立于国家之外，在这些外壳的交换中运作，都非常吸引人。
Q: Since your arrival in China in 2008, you have created many works related to industrial remnants. Are you particularly interested in physicality and collective development?
A: Industrial hulks shells and hulls are like techno exfoliation of mankind. Spent cartridges, wrappers and carriages. Humanity uses them like hermit crab borrows and inhabits new ones every 20 years or so, remixing upgrading. Global movements such at Art deco Brutalism parametric design and how they operate in exchange of these shells independently from nations is pretty fascinating.
Installation View, Artwork ©Matt Hope
Q：在你的创作生涯中，有没有哪个瞬间或作品是你认为的转折点？
A：2003 年我在圣地亚哥制作了一个巨大的扬声器喇叭，当时我意识到，人们感兴趣的外部事物实际上是雕塑的形式。这不像把扬声器放在雕塑里那么简单。扬声器就是雕塑！艺术学院和电子设备将矩形强加给我们，打破这种沉闷的思维方式非常重要。
Q: In your artistic career, has there been any moment or piece that you consider a turning point?
A: When I built the huge speaker horn in 2003 in San Diego I realised that the external thing of interest was actually the sculptural form, it took some time to open up to this, think differently. It’s not like you just put a speaker in a sculpture. The speaker is the sculpture! The art academy and electronic devices enforce rectangles upon us, it is important to break this dull thinking.
Chatter, 160×100×100cm, painting canvas, custom made easle electronics 绘画画布，定制电子产品, 2023
Q：你的很多作品都是对声音的控制，声音对你来说有什么独特之处？
A：当我还是个孩子的时候，我们爬上了一座山的半山腰，在下面的山谷里，我看到一辆汽车悄无声息地穿过一条牛栏，过了一会儿，我听到了声音。这告诉了我很多关于现实的道理。我们过去会看到协和号在英格兰西部超音速飞行，它在蓝天中发出巨大的声响，就像詹姆斯·特雷尔（James Turrell）是DJ一样。飞机似乎在声音之前，这是怎么可能的？
Q: Many of your works involve control over sound. What unique significance does sound hold for you?
A: When I was kid we climbed half way up this mountain, below in the valley I saw a car silently cross a cattle gird, a few moments later I heard the sound. This told me a lot about reality. We used to see concord go super sonic of the west of England, it made a huge boom sound in the blue sky, like if James Turrell were DJ. The plane seemed to be ahead of the sound how was possible?
Solar Oraliser-2, 124×54cm, solar panels electronics, custom made cabinet 太阳能电池板电子产品、定制橱柜, 2023
Q：可以聊聊你说：制造“不能上天的火箭”本身也是一种浪漫吗？
A：对我来说，不能飞的火箭有一些浪漫的特质。它受限于地面，却渴望离开，渴望一些它无法拥有的东西，凝视远方，永远充满抱负。
Q: Could you discuss your statement: "a rocket that can't fly is a kinda romantic?
A: A rocket that cant fly has some romantic quality for me. It is bound, stuck to the ground yet wants to leave, yearns for something it can’t have, looking off into the distance, forever aspirational.
艺术家于SIMULACRA
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