Florian Ma's site specific work at Worksound

馬浩賢Florian Ma
Living under light, Fish
tank, bulb, wooden stand, rope, wire, fish
150 x 60 x 290
活於燈光下，魚
水池、燈泡、木座、魚、繩、線

Cheerful cheers
bulb, glass, painting, sculpture, plant, plastic basket, wooden panel, wire.
愉快地乾杯
燈泡、玻璃、畫、雕塑、植物、膠籃子、木板、繩

Moving light, Machine
motor, plastic fabric, bulb , rope , wire
200 x 60 x 280
燈光移動機械
摩達、膠纖維、燈泡、繩、線

馬浩賢Florian Ma
Know Each other Gradually
19”inch DVD, LCD Monitor , 30mins , Play in Loop
漸漸地相互熟悉
19吋DVD、 LCD影視屏、三十分鐘循環播放

馬浩賢Florian Ma
Daytime Inside Nighttime Outside
Mirror, wooden panel, metal stand, sticker on mirror , and transparent sticker on window
Stand : 75x70x110cm
日間在內，夜間出外
鏡、木板、鐵架、貼紙、透明膠貼

http://www.youtube.com/watch?v=qC-oRF2iKoQ

There is no blind at my home. Everyday I am waken up by the first ray of light that shines through the window. It strikes me and kicks me out of bed. The nature orchestrates all activities on earth.

It is always said the turn of human civilization and rise of urbanization started when Thomas Edison invented the light bulb. We can work day and night. Time is never ending or beginning. It was the wake of the industrial revolution. By covering up the window facades of the gallery with blue and yellow digital printed glass papers Florian Ma’s “Daytime Inside Nightime Outside” turns the gallery to a cardinal space for contemplation and the outside is the unknown void. Dyed light shone across the digital refractive film fills up the gallery space. Visitors are like fishes in a bowl swimming in this omnipresence electromagnetic wave.

Lately after more than a hundred years of the tungsten light bulb, we discovered another type of artificial light – the changing color light LED. It was said that China will lead this solid state lighting revolution because we have not been conquered by the old tungsten. And then different color theory and psychology suggested that color light can induce different ambient mood and vice versa. Today, we see the world largest light bulb factory invented “Colorliving” a LED light system that color light can be set according to your mood. Lights do not only separate time of the day, space of consciousness; all these familiar dualistic properties of our culture, is now complicated with texture and substance which is setting for our mood and behavior. Fishes swimming in the bowl in “living under light” is a helpful correlation because fishes never sleep or in a more scientific term we never see them sleep. The slowness and linearity of “Moving light, machine” is a phenomenal contrast to the nature’s speed of light and the string theory of the universe. It is a self referential argument of our diminutive ability to understand the science and physics of our presence. Our changing understanding of time begins with Einstein's Special Relativity. With absolute time abolished, the concept of 'now' becomes ambiguous. John Wheeler and Richard Feynman added to the mystery proposing a theory where light moves backwards and forwards through time. “Cheerful cheers” is probably a positive and most sincere expedition following this line of thought. More recently John G Cramer suggested that it might be possible to send signals backwards through time. Most physicists are skeptical, but again Florian Ma “Know Each other Gradually” suggests that messages from the future do not lead to logical contradiction. If we try hard enough, I believe we can sense the future. Moving from the use of neon light in the urban context, Florian Ma’s works is minimally symbolic and romantically individualistic in this exhibition to inquire about the physical ambiguity of time and space, now and then, here and there and hence everywhere.

Ellen Pau

我家沒有窗簾。每朝清晨，第一柱陽光從窗戶射進屋內，把我從床上狠狠地照醒。大自然指揮著地球萬物的旋律。

常聽說，人類文明的轉捩點與都市化的興起正是始於愛迪生發明了電燈泡。自此，我們可以畫夜不分地工作，難以分辨何時才是每天的開始與終結，並以此見證了工業革命的開端。馬浩賢在他的《日間在內，夜間出外》中，把畫廊櫥窗以藍色與黃色的電腦印刷玻璃紙覆蓋，畫廊轉化成一個供冥想的空間，而此中心外的世界則成為未知的空白。染了色的光線照射到數碼菲林上，光線折射穿梭於畫廊的四周。參觀者就像缸中魚兒一樣，在無所不在的電磁波浪中暢泳。

在鎢絲燈泡面世超過一百年後，我們發明了另一種人工照明方法：可變色發光二極管(LED)。有說中國將會領導這場固態照明革命，因為我們仍未被舊的鎢絲燈完全征服。隨此發明而來的顏色和心理學理論則認為，不同色彩的光能夠誘發出不同的心理環境，反之亦然。今天，全球最大的燈泡製造商發明了 Colorliving，此發光二極管照明系統能夠隨用家心情而改變顏色。光線不再只是用來區分畫夜和時空。這些我們熟悉的二元分野，如今被調控我們心情與行為的組織和物料複雜化了。在《活於燈光下，魚》中，缸中游泳的魚兒正關係到這一狀態：魚從不會睡覺，或者科學點說，我們從未見過牠們入睡。

《燈光移動 機械》所呈現的緩慢和線性與自然光速和宇宙弦理論構成相違的現象。這是一自我指涉的論證：我們難以理解人們自身存在背後的物理與科學。我們對時間認識的改變始於愛因斯坦的狹義相對論。當絕對時間不再存在，我們對何為「現在」的認知亦變得模糊。而約翰‧惠勒 (John Wheeler) 和理察‧費曼 ( Richard Feynman) 提出一套光線可以在時間來回穿梭的理論，則令事情更加詭秘。〈愉快地乾杯〉應當是在這條思考軌跡上一起正面和真誠的探索。最近，約翰‧Ｇ‧克拉默 (John G Cramer) 更提出我們可以把訊息傳回過去的可能。雖然大部份的科學家對此存疑，但馬浩賢透過《漸地相互熟悉》而再一次提醒我們，從未來而來的訊息不一定導致邏輯矛盾。如果盡力嘗試，我相信我們可以感應到未來。把霓虹燈帶離城市的實用環境，馬浩賢的作品既是簡約的象徵性，又是浪漫的個人化。在這場展覽中探究時間與空間在物理上的模糊性：現在與未來，此地與那方，以至無論何處。

鮑藹倫(中文翻譯：何禹旃)