Selected works, 2020 – now.

As 1/3 of NOT SET Group, with Xi Chen and Jiuming Duan. Premiered at Vault Festival London, 2023. Commissioned by Shanghai International Arts Festival, 2025.

Director: Chance Xu.

The project explores a new form of theatre shaped by absence, emptiness, and silence. I experimented with working electroacoustically, using recorded sound to explore new modes of sonic storytelling. The theatre’s surround sound system allows me to create an immersive atmosphere with rich spatial movement, inviting the audience to fully dive into a soundscape that drifts between the real and the fictional.

Director: Xuan Ma.

The project explores the story of an ordinary family in China around the turn of the new millennium, set against a backdrop of rapid economic growth, industrial transformation, and westernisation. For this work, I composed vocal scores and minimal electronic music blended with industrial soundscapes. A sense of melancholy and volatility is embedded throughout. I worked with the theatre’s surround sound system to create an immersive experience that fully transports the audience to different places.

Artist: Reza Aramesh. Exhibited at Chiesa di San Fantin, Venice.

For this project, I recorded and produced voice transcriptions for each sculpture, projecting them within the church to resonate with the immense architectural space.

Artists: Peng Ke, Bryan Yueshen Wu. Premiered at the Future Vision Lab event, C-Lab Taiwan.

“Material Topology explores materiality at different scales. It magnifies the subtle changes in the microcosmic world within an immersive space, prompting the audience to contemplate the similarities and chaotic patterns among entities of various dimensions.” The spatial sound composition exclusively utilises material from Bryan Yueshen Wu’s original sound design for the earlier installation “evolution” and is laid out based on Peng Ke’s film production. The arrangement employs a subtractive methodology, reduces the weight and density of the original sound for installation, and creates a dynamic narrative that fits linear film space. In line with the work’s emphasis on topology, the spatial sound arrangement adheres to the same spirit and is customised for a half-dome ambisonic sound and projection system. Extensive spatial coordinate automation and granulation techniques were applied to synchronise with the movements of the material.

Production: New Youth Group. Director: Li Jianjun. Premiered at Wuzhen Theatre Festival and toured across China.

“World on a Wire” is new media theatre that follows protagonist Stiller, who creates a mirror “virtual world.” Above it exists a “real” human perspective, resulting in a “triple space” where the protagonist grapples with existential dilemmas. Set in the 1960s, the story reflects contemporary fears and hopes about reality and the future, addressing the theme of “existence” through science fiction and surreal elements. A series of soundtracks was predominantly composed using electronic instruments, field recordings, and found sounds. The soundtrack establishes an overall mood of unreality and mystery, resonating with the plot’s pursuit of reality. “Vertigo” is the most frequently used sound effect, symbolising the protagonist Stiller’s questioning of reality and descent into dizziness. “Chain Reaction” serves as the soundtrack for switching sets, utilising a higher percentage of real sound to distinguish between different layers of realities. The theme melody, employed in various variations, outlines the mysterious mood. “club.under.ground” is an unconventional dance music piece for a dance scene, marking the beginning of the protagonist’s grand escape. “Lost Memories”, “Eva’s Empty House”, and “In the Mist” are electro-ambient pieces designed for scenes between Stiller and Eva, the protagonist’s lover in the virtual space. These three pieces share minimalistic aesthetics and musical elements. The soundtracks conclude with “Copy Right Free”, which colours the ending with empty happiness.

Artist: Jiuming Duan.

Wind / Memory is an improvisational soundscape piece derived from Zhao Jiajing’s sound design for an interactive installation of the same title by Jiuming Duan. The project explores the sonic representation of the memories of wind. Materials employed are recordings of daily objects with a touch of digital oscillator sound.

Theatre group: Sleep-less. Premiered at Inside-Out Theatre and toured 2021–2022.

In spring 2021, I composed and designed sound for two theatre works exploring social media (JPEG and 1 yottabyte Leben). I blended electronic noise, social media soundscapes, and ambient music in both pieces. For JPEG, I created my first multichannel soundtrack for theatre, using a quadraphonic system.

Director: Guanghao Wang. Premiered at Inside-Out Theatre and toured 2021–2022.

Sound for two social-media theatre works in spring 2021 — see the note under JPEG.

Production: NO22 Group. Director: Yue Yuan.

A theatre work that challenges the inevitable production and consumption of visual images. The sound design predominantly utilises field recordings and found sounds, drawing inspiration from the rhythmic sounds of pipelines in a factory. The soundtrack forms sonic pipelines by organising a diverse array of sound objects into rhythmic structures, gradually increasing in intensity and density over time.

Listen on SoundCloud ↗