Relative Perception N°1[0°-N°]

Under uniform white light, eight metal plates hang in sequence, their inclinations increasing step by step from 0°. At first glance, the work reads as rational, orderly, minimalist sculpture; yet it refuses to remain within the visual — it is closer to an instrument scored for space and for the body.

Beneath each plate lies an embedded heating element; above, drip mechanisms release water in unison. The instant a drop touches the heated surface, a sound is born. The droplet slides along the incline at a speed set by its angle, gradually vaporizing as it travels — and at the moment of evaporation, sound and image are extinguished together. Inclination thus becomes a form of notation: from 0° to N°, what it inscribes is not pitch but duration — the span each drop takes from sounding to vanishing. The phase transition from liquid to gas is amplified into an event that can be heard, seen, and felt as heat; sound here is not representation but the occurrence of matter itself, existing only in the here and now.

The Relative Perception series begins from a plain premise: perception cannot be organized by systems or quantified as precise data; the body's awareness of its surroundings takes shape only through relative comparison and difference. Within an exhibition culture of rapid viewing and issue-driven reading, the "first eye contact" of vision has long governed how we interpret the world. This work invites viewers, after seeing, to surrender that dominance — to measure inclination by ear, to approach heat through the skin, to redeem the work's time by staying — recalibrating senses grown dull under the primacy of the visual.

The work's time is the entire time of the exhibition. Tens of thousands of drops — falling, heating, evaporating — leave behind strata of limescale and rust; by the exhibition's end, the eight plates have become "paintings" beyond the artist's control, signed by chance, written by matter. What Relative Perception N°1 ultimately points to is not an object to be looked at, but a perception to be lived: in the birth and extinction of a single drop of water, we learn again to listen to the world with the whole body.

With the support of the National Culture and Arts Foundation, Taiwan.

在均質的白光裡，八片金屬板依序懸掛，傾角自 0° 逐一遞增。第一眼望去，是理性而秩序的極簡雕塑；然而作品拒絕停留於視覺——它更接近一件為空間與身體而寫的樂器。

每片金屬板底部埋設加熱片，上方的滴水裝置同步落下水滴。水觸及高溫板面的瞬間，聲響誕生；水珠沿傾角滑行，速度因角度而異，並在行進中逐漸汽化——蒸發之際，聲音與影像同時熄滅。傾角於是成為一種記譜法：0° 到 N°，寫下的不是音高，而是每一滴水從發聲到消逝的時值。液態至氣態的相變，被放大為可聽、可視、可感其溫度的事件；聲音在此不是再現，而是物質自身的發生，僅存在於此時此刻。

「相對感度」系列始於一個樸素的提問：感知無法被系統組織與精確量化，身體對環境的察覺，始終在相對的比較與差異中成形。在快速觀看與議題先行的展覽節奏裡，視覺的「第一眼接觸」長期支配著我們解讀世界的方式；此作邀請觀者在看見之後交出主導權——以聽覺丈量角度，以體感貼近溫度，以停留兌換時間，重新校準在視覺霸權下逐漸鈍化的感官。

作品的時間，即展覽的全部時間。成千上萬次滴落、加熱、蒸發，在板面留下鈣化物與鏽蝕的層積；展期結束時，八片金屬板成為藝術家無從控制的「畫作」——由偶然簽署，由物質書寫。《相對感度 N°1》最終指向的並非一件被觀看的物，而是一段被經歷的感知：在一滴水的生滅之間，重新學會以整個身體聆聽世界。

本作品獲臺灣國家文化藝術基金會贊助。