‘La forma Della voce’, Collections by Palazzo
Bellini, Italy (2025, with pianist Raidriar Chen)
《如画的》
本系列作品是对现代钢琴曲目的一次通感转化（Synesthetic Translation）。通过对色彩与结构的诠释，揭示作曲家意欲为听者唤起的想象之境。我的创作实践穿梭于听觉与视觉表达的阈限空间之中。
梅西安（Olivier Messiaen）对自然的神学冥想，要求一种神圣的克制—通过呼应礼拜仪式庄重感的传统技法来传达。与之相对，克拉姆（George Crumb）的宇宙语汇则呼唤激进的解构：对线性-曲线形态的数学分析，催生出先锋的视觉语法。
五种创作哲思在此交融：卡洛琳•肖（Caroline Shaw）的时间对话（过去/现在）、梅西安的超验共生（自然/信仰）、霍尔斯特（Gustav Holst）的星体共振（宇宙互联）、克拉姆的天体心理学（行星/心灵），以及葛甘孺（Ge Ganru）关于社会嬗变的超现实主义叙事（历史/人性）。它们共同汇聚成一部跨越世纪的、以颜料物质化的文化交响曲。
‘La forma della voce’
This series embodies a synesthetic translation of modern piano repertoire, where chromatic and structural interpretations reveal the imagined landscapes
composers intend for listeners. My practice navigates the liminal space between auditory and visual expression.
Olivier Messiaen's theological meditations on nature demand sacred restraint—conveyed through traditional techniques that echo liturgical solemnity. Conversely,
George Crumb's cosmic vocabulary invites radical deconstruction: mathematical analysis of linear-curvilinear forms births avant-garde visual syntax.
Five compositional philosophies converge: Caroline Shaw's temporal dialogues (past/present), Messiaen's transcendent symbiosis (nature/faith), Holst's astral
resonances (cosmic interconnections), Crumb's celestial psychology (planets/psyche), and Ge Ganru's surrealist narratives of societal metamorphosis (history/
humanity). Together, they form a century-spanning cultural symphony materialized in pigment.
