Presented by Rainbow Chan and Verge Gallery
26.09.18 – 29.09.18

Live performance by Elizabeth Yung Cheung:

+ Wednesday 26 September, 3pm
+ Thursday 27 September, 3pm
+ Friday 28 September, 3pm
+ Saturday 29 September, 3pm

Elizabeth Yung Cheung (AU), Hung Tzu-Ni (TW), Flo Wilson (NZ)

The idea of disappearing without a trace used to frighten me as a child. Imagination running wild, I dreamt of my body being swallowed up by quicksand or liquified into a shiny silvery substance, never to be seen again. Hyperconnectivity makes this much harder in reality. Every moment is captured, uploaded, shared, surveilled and archived. In the digital age, one’s mind, body and spirit are collapsed into a hyperlink. We unwittingly become bundles of data, leaving behind traces with every click. To disappear completely seems naive and outdated in the “always thereness” of today.

Aftersound is a new performance program that started in June 2018 with a focus on sonic experiences and the poetics of space. Its September edition sees artists from New Zealand, Taiwan and Australia examine the idea of the trace. Flo Wilson’s (NZ) installation work, Prelude to a Requiem, uses sound and video projection to illustrate the liminal headspace that a person enters when he or she prepares to grieve. Wilson’s work is a preemptive trace which vacillates between acts of love and futility. As her immersive installation slowly builds up into an ambient embrace, Wilson questions how different technologies extend or reduce our modes of being.

未來的凌遲 An After Life Torture is a video work by installation artist, Hung Tzu-Ni (TW). This performance documentation version of After Life is a trace in itself. Yet, as digital and physical realities constantly collapse into one, Hung’s message still rings loud and clear. Envisaging a future in which technology and biology have merged, Hung critiques how life will become clinical, soulless and predictable. With a dystopian edge, Hung uses harsh noise and light to construct a dreamlike environment that welcomes all emotions, including humiliation and pain. Via headphones, one can experience the nuanced sounding of Hung’s meditation.

Navigating the physical gallery space, local artist Elizabeth Yung Cheung will develop musical traces over the course of the week in their compositions for erhu and other instruments. Currently an undergraduate student at the Sydney Conservatorium of Music, Yung often composes new music for chamber groups and enjoys experimenting with new sounds. Their work “Hits Rather Close To Home” will be a series of semi-improvised pieces based on titular prompts and graphic scores, interspersed with excerpts from some traditional Chinese melodies.


Elizabeth Yung Cheung is currently a Bachelor of Music student at the Sydney Conservatorium of Music, studying Composition under Gerard Brophy and Erhu under Dr Nicholas Ng. A new music chamber composer and improvisor, they enjoy playing instruments how they’re not supposed to be played and writing for strange combinations of quirky sounds. In the past, Yung has performed with ensembles such as Tango Oz, Sydney Youth Orchestra Philharmonic, and Vox. Most recently they performed with Rainbow Chan at the Art Gallery of NSW, accompanying a film at the Asian Film Festival with Rainbow’s live score. Outside of music, Yung is also interested in drawing and illustration, baking, and writing things like poetry and shopping lists. They are extremely excited to be performer-in-residence at Verge Gallery for Aftersound!

Space and sound, sound and body, body and
machine, machine and ritual, ritual and poetry, poetry
and space.

In a social landscape filled to the brim with busy
work, Hung Tzu-Ni seeks to create a setting or an environment
where a listener or viewer might enter into a
dream state, momentarily isolated from the outer
world, and in that space be able to more intensely
perceive one’s frame of mind & body.

Hung Tzu Ni is an installation artist whose work
explores the reciprocal relationship formed between
light and sound. As each element is respectively constructed
and embodied in a given space, Tzu Ni explores
the boundaries of what audio/visual work can be, as
well as how such work can interact with its environment.

Flo Wilson is a composer, producer and artist based in Auckland, New Zealand whose organic, experimental music creates emotive atmospheres to facilitate shared listening experiences. A recent post-graduate in Sonic Arts at the New Zealand School of Music, her interests in music and art stem from computer music, embodied performance, spatial design and immersive installations. Her work has been shown and performed at NIME (USA), ACMC (AUS), The Dowse (NZ), and the Adam Art Gallery (NZ), as well as performed new works for the New Zealand School of Dance for the
Choreographic Season. Following performances and work at the Audacious Festival of Sonic Arts in Christchurch, Flo has recently premiered her first solo exhibition in Wellington. She is currently the outgoing co-artist in residence with Olivia Webb for the Toi Pōneke/ Te Kōkī Sound Art Residency 2017/2018 and released her debut EP ‘(Please) Keep Breathing’.

A casual lecturer in Sydney Conservatorium’s Bachelor of Contemporary Music, Rainbow is committed to providing new opportunities for students to gain practical performance experience.