“Puncture” began as a box prototype, documented in a video for a physical computing class last year. This May, I was invited to create a large-scale installation for a group exhibition in Shanghai. I developed the small prototype into a fully realized kinetic system. I refer to it as a "sound installation" because sound plays a crucial role in the piece. I collaborated with Elias Jarzombek on this piece, and his outstanding sound design  expresses and amplifies my true emotional feelings, making the work come alive.

The initial concept stems from a challenging experience during my senior year of school. The box shape was chosen because it resembles the student lockers at my school. I struggled for a long time with the negative memories associated with the locker, which left a lasting impact on me. The fragile materiality of the piece—easily breakable and torturable—reflects its vulnerability, much like a human being. While the work is rooted in my personal experience, I aimed to avoid making it solely about my own story. By not specifying any particular direction in the description or project title, I intended to prompt the audience to reflect on their own memories and painful moments, rather than viewing it as merely an artist's personal experience.

I was inspired by Zimoun, a Swiss artist, composer, and musician known for his sound sculptures, sound architectures, and installation art. His meditative sound and movement deeply influenced me, and I draw a lot of artistic inspiration from his work. I find a sense of tranquility in listening, watching, and feeling, which aligns with my belief that art is about subtle perception. This affinity for Zimoun's work may be one reason I am drawn to his art.

Performing with this device involves exploring the paper's texture and resistance by inserting 'prods' into holes in the back of the box and pressing against the paper surface. From the front, the audience sees a paper sheet being poked and stretched from under the surface. The sound of the paper crinkling, stretching, and tearing is blended with synthesized and recorded audio that is modulated by the pressure being exerted on the different prods. The harder you press, the more intense the sound becomes until eventually you puncture the surface and are left with silence. Our performance also features a second box, an early prototype that we repurposed to create a duet. The second box is positioned flat on the table and is played like a percussion instrument, using the box frame and paper surface to create texture and rhythm.