Weng Wei Hsiang


Wind Bridge II
Wind Bridge I

Now Past Now
Hidden Island
Over Here, Over There
Walking on a Passage
Site in Superposition
Dormant Volcano
Daily Phrases
Reshaping History
Space as a Limit

_Commission and Collaboration

Rethinking Environmental Sensing with Aerocene
Pheadra’s Love
Mountain Language


Weng Wei Hsiang is a media artist and researcher currently based between Taipei, TW and London, UK. His practice investigates the intersection between artificial and natural systems to examine how we, as humans, share, co-produce and sense time and space. Employing materials such as air, light, sound, and data, he constructs devices, situations, and experimental set-ups within spatial and landscape settings. These set-ups often play the role of both observer and creator, mediating our perspectives of dynamic situations and living systems, and the relationships create a dissonance that leads to unpredictable outcomes which test how physical movement, sensory engagement and the interaction of the body and brain influence our perception of our environment.


© Copyright Weng Wei Hsiang 2022

Walking on a Passage

Walking drawing | Pencil on paper
Two parts, each: 91 x 91 cm
15:23-15:37 EST, 2 Oct, Providence, USA

Our sensory systems activate only in the presence of change, and our cognitive awareness of heat, light or sound is not of the environment at all, but of the manner in which our own bodies are reacting to the environment.
-Michelle Addington, ”The Phenomena Of The Non-Visual”

Cognition arises through a dynamic interaction between an acting organism and its environment. Our environment is thus considered as one type of perceptible order, which we selectively create through our capacities for interaction. When we perceive, the abstract information is extracted from its context; once they translate into an internal representation, it becomes independent from its origin and is able to be processed and manipulated. The intention of this project is: to observe our fluid bodily changes and self-adjustments toward space and time.

To experience a passage. I documented the feeling of light, temperature, sound, and space in numbers both from my physical body and from digital sensors. These data are translated into concentrations of charcoal line, which showed that my body experienced two distinct versions of a passage.