Ke Peng PK

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	<title>Ke Peng PK</title>
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	<pubDate>Sun, 15 Feb 2026 17:09:35 +0000</pubDate>
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		<title>Works</title>
				
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		<pubDate>Sat, 07 Feb 2026 15:44:17 +0000</pubDate>

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		<title>Evolution, 2023</title>
				
		<link>https://kepeng.cargo.site/Evolution-2023</link>

		<pubDate>Sat, 07 Feb 2026 15:43:23 +0000</pubDate>

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Evolution
演化
︎Nov, 2022-Sep, 2023


Blending live scientific data with artistic expression, Evolution is an immersive audiovisual installation and performance that celebrates the vitality of inorganic matter. It invites viewers to witness the organic evolution of granular materials alongside a soundscape, encouraging reflection on the nature of life forms and our existence within this interconnected world.
The project draws inspiration from the phenomenon of Cymatics, which demonstrates that certain substances can autonomously form dynamic patterns in sound vibrations. This raises profound questions about our understanding of life: What is the ontological difference between behaviours of such matters and living organisms? How do we position our own existence in the ever-evolving macro and micro contexts?
With these questions at its core, Evolution employs a generative system that allows granular substances and the soundscape to evolve in unison, thus freeing matter from its traditionally passive role. The soundscape is composed using generative algorithms that harness the sonic textures collected from the materials, directing the powders to transform. Simultaneously, a live image recognition program interprets particle behaviours to modulate the sound. This ongoing feedback loop fosters a complex and dynamic system, challenging conventional notions of causality and interactivity.
This installation features a live moving image and a unique quadraphonic audio system, integrating transducers and speakers to immerse the audience in a transformative blend of imagery, sound, and haptic vibrations. Audience interaction—such as touching or drawing on the plate—alters the movement of the powder and the sound, responding in real-time. As the boundary between individuality and the surrounding spatio-temporal structure becomes blurred in this shared vibrational environment, an organic dialogue is established between different forms of existence.


CreditsCo-director, co-producer: Bryan Yueshen Wu, Ke PengVisual: Ke PengSound: Bryan Yueshen WuProject advisor: Dr. David MeckinSpecial thanks: Iklectik Artlab, Morley Gallery, Ronnie Deelen, Dr. Matt LewisProject developed at Royal College of Art 


Past Live PerformancesPASSAGES, IKLECTIK, Nov 8, 202242nd White Noise, IKLECTIK, Dec 6, 2022Metabolic Drift, IKLECTIK, Oct 30, 2023AV Tales Lunch Night, Thingy Cafe Hackney, Jan 31, 2023


Past
ExhibitionsVibrant Matters, Digital Design Weekend 2023, Victoria and Albert Museum, London
SOUND/IMAGE 2023, The Stephen Lawrence Gallery, University of Greenwich, London
The Engine Room: International Sound Art Exhibition 2023, Morley Gallery, London
Ties That Cannot Be Unbound, New Art City, Online
Work in Progress Show 2023, Royal College of Art, London


演化 是一项通过视听装置与现场表演为形式，探索无机材料的生命力的艺术项目。在沉浸式的场域中，观众将见证微粒材料与音景之间的有机演变，旨在引发对生命本质及我们在这个相互关联的世界中存在的思考。
该项目从音流学现象中汲取灵感：微小颗粒会在声音振动环境下自发形成复杂动态图案。 这种无机材料的自主行为引发了我们对生命本质的深刻思考：这些物质的活动与生物体之间的本质区别是什么？我们又该如何将自身存在置于不断演变的宏观和微观背景之中？
通过数字和模拟信号的融合，该装置创造了一个独特的自组织系统。物质与声音的振动相互适应演化，解放了物质从传统的被动地位。声音设计利用材料本身的音质，结合粒子合成器和生成算法实时生成，不断影响粉末的运动；同时，通过实时图像捕捉算法，物质的动态也将调制声音的生成。这种反馈循环促成了一个复杂而动态的系统，挑战了传统的因果关系和互动性。
作品由实时投影的显微镜影像和特殊设计的四声道空间声音系统构成，集成了声波振动器与空间音响。同时，观众的互动，比如触摸或在板上绘画，也会实时改变微粒材料的动态以及场域内的声音。在这个由图像、声音和触觉打造的共振场域中，观众将感受微观世界和真实空间的交错，犹如与粉末融为一体，并参与到不同存在的有机对话之中。


联合制作人：伍悦燊，彭可视觉统筹：彭可声音设计：伍悦燊项目顾问：David Meckin 博士特别鸣谢：IKLECTIK Artlab，Morley Gallery，Ronnie Deelen，Matt Lewis 博士项目开发于英国皇家艺术学院


过往演出PASSAGES, IKLECTIK, 英国伦敦42nd White Noise, IKLECTIK, 英国伦敦Metabolic Drift, IKLECTIK,英国伦敦 AV Tales Lunch Night, Thingy Cafe Hackney, 英国伦敦


过往展览Vibrant Matters, 数字艺术设计周 2023, V&#38;amp;A博物馆, 英国伦敦

SOUND/IMAGE 2023, The Stephen Lawrence Gallery, 格林尼治大学, 英国伦敦The Engine Room: 国际声音艺术奖与展览 2023, Morley Gallery, 英国伦敦


Ties That Cannot Be Unbound, New Art City, 线上
Work in Progress Show 2023, 皇家艺术学院, 英国伦敦


2023, Evolution (Installation)


         HD Live Moving Image, Quadraphonic Sound, Projection, Transducers, Acrylic, Luminous Powder, White Sand, LED Strip, Infinite Duration
 Exhibited at Garden House White City, Royal College of Art, Work in Progress Show 2023


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2022, Evolution (Performance)


         HD Live Moving Image, Stereo Sound, Projection, Transducers, Acrylic, Luminous Powder, Laser, Torch, 8:00
Performed at 42nd White Noise, IKLECTIK Artlab


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Process
       
   		 
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Testing set-up
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Past Exhibitions &#38;amp; Performances
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Exhibited at Vibrant Matters, Digital Design Weekend 2023, Victoria and Albert Museum, London


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Exhibited at The Engine Room: International Sound Art Competition and Exhibition, Morley Gallery, 2023


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Exhibited at Garden House White City, Royal College of Art, Work in Progress Show 2023


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Exhibited at Ties That Cannot Be Unbound, UAAD ART &#38;amp; New Art City 2023


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Live at WhiteNoise, IKLECTIK, Dec 06, 2022


</description>
		
	</item>
		
		
	<item>
		<title>Material Topology, 2023</title>
				
		<link>https://kepeng.cargo.site/Material-Topology-2023</link>

		<pubDate>Sat, 07 Feb 2026 15:43:28 +0000</pubDate>

		<dc:creator>Ke Peng PK</dc:creator>

		<guid isPermaLink="true">https://kepeng.cargo.site/Material-Topology-2023</guid>

		<description>
	

Material Topology物质拓扑
︎Oct, 2023


Material Topology is a dome-based audiovisual short film that explores materiality at different scales. It magnifies the subtle changes in the microcosmic world within an immersive space, prompting the audience to contemplate the similarities and chaotic patterns among entities of various dimensions. Inspired by topology's geometry, it reveals how seemingly different objects may possess identical structures, and a mutual mapping exists between micro and macro scales. The image of the work uses a high-definition macro camera to capture and magnify the dynamic variations of fluorescent powder particles influenced by sound vibrations, projected onto a giant dome. Within the encompassing dome environment, even the tiniest material changes are highlighted, evoking awe and imagination. Simultaneously, the sound experience combined with the changes in vision travels through the entire auditorium, leading the audience to immerse themselves in a world full of chaotic particles. Here, the scale of human beings is minimised, as if merging with matter, feeling the dramatic contrast between the microcosm and the macrocosm.
Material Typology was selected for the Future Vision Lab program at the Taiwan Contemporary Culture Lab in 2024, and was exhibited from November 1 to December 22, 2024 at the Fulldome Theater of the Future Vision Lab, Taiwan Contemporary Culture Lab.


The work was also screened at the 2024 SAT Fulldome Film Festival in Canada, an internationally recognized festival dedicated to immersive dome-based audiovisual art.


Later in October 2024, the project was presented in Tangent Media, a contemporary media art exhibition held at the Art Museum of The Chinese University of Hong Kong, Shenzhen, curated by internationally renowned technology art curator Iris Long.


物质拓扑 是一场在艺术球幕中探索微观世界构建的展演作品。通过过球幕的穹顶空间，放大微小的实景变化，引发人们对不同维度事物之间相似性与混沌中的秩序所产生的思考。从拓扑几何学中汲取灵感，作品揭示看似不同的事物可能具有相同结构，及微观与宏观之间的相互映射。
作品的影像运用微距相机捕捉容器内粉末颗粒在声音振动下的微妙变化，将这些微观景象投影在巨大的球幕上。在这个壮观的穹顶环境中，微小的物质变化被赋予放大的力量，唤起人们的敬畏与无限遐想。同时声音结合视觉的变化，穿梭于整个演厅之中，引领观众沉浸在一个充满混沌微粒的世界。在这里，人类的尺度被缩小，仿佛与物质融为一体，感受微观与宏观之间的鲜明对比。


物质拓扑 

入选 2024 年台湾当代文化实验场未来视觉实验室(Future Vision Lab)项目，并于 2024 年 11 月 1 日至 12 月 22 日在台湾当代文化实验场 未来视觉实验室球幕展厅展出。


该作品亦于 2024 年在加拿大举办的国际知名球幕艺术节 SAT Fulldome Film Festival 展映。


此后于 2024 年 10 月，在科技艺术策展人龙星如邀请下，作品于香港中文大学（深圳）美术馆举办的当代媒体艺术展览 Tangent Media 探针媒介中展出。


︎
Produced by: Ke Peng Sound Design: Bryan Yueshen Wu, Zhao JiajingExhibited at C-Lab Taiwan, Future Vision Lab 2023


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Exhibited at 

Future Vision Lab 2023, C-Lab Taiwai&#38;nbsp;


</description>
		
	</item>
		
		
	<item>
		<title>Oceanosmos, 2023</title>
				
		<link>https://kepeng.cargo.site/Oceanosmos-2023</link>

		<pubDate>Sat, 07 Feb 2026 15:43:31 +0000</pubDate>

		<dc:creator>Ke Peng PK</dc:creator>

		<guid isPermaLink="true">https://kepeng.cargo.site/Oceanosmos-2023</guid>

		<description>
	

Oceanosmos︎Oct, 2023 - 2025


Oceanosmos is an immersive audio-visual installation inspired by the "oceanic feeling,” as described by writer Romain Rolland. It aims to convey a sense of the infinite and eternal, where the self dissolves, merging with the external world. Freud interpreted this "oceanic feeling" as a primitive self-awareness retained from infancy. Oceanosmos creates an immersive space using spatial sound, laser planes, projections, smoke, and water interaction to explore this "oceanic feeling" – a spiritual experience where the self and the world become one.


Oceanosmos employs an Ambisonic multi-channel spatial sound array, weaving sounds from the ocean and within the human body to create a generative immersive sonic landscape. The work processes sound samples recorded from underwater microphones and portable recorders using chaotic algorithms, resulting in a generative soundscape that hovers between the concrete and the abstract. Through the cues provided by generative sound, Oceanosmos aims to construct a world that exists between the deep sea and the womb, enveloping the audience completely. It encourages the audience to explore the blurred boundary between the external and the self.

The visual installation takes shape in multiple womb-like glass sculptures, constantly modulating the laser projection. Programmed mechanisms create ripples on the water's surface, using refracted lasers to produce different visual patterns. Sound coordinates with programmed projections and lasers to deliver an experimental cross-media narrative. Through immersive nonlinear storytelling, the work guides the audience to explore the relationship between the internal and external, dissolving the boundaries of the self and establishing continuity with the surrounding space.


Oceanosmos is a collaborative project by members of Jue Studio — Ke Peng, Chang Meng, Zhao Jiajing, and Bryan Yueshen Wu.


The work premiered on November 21, 2023 at Mirror Mirror, hosted at IKLECTIK&#38;nbsp;in London, an experimental live music and audiovisual performance space. It was presented again on December 11, 2023 at St John’s on Bethnal Green, where the historic church architecture was transformed into an immersive oceanic environment. Within the resonant spatial acoustics of the church, the work constructed a sonic seascape that intertwined marine atmospheres with the building’s historical memory.


In 2025, Oceanosmos was exhibited in China for the first time as part of Digital Islands: Digital Aquarium, held from July 4 to November 3, 2025 at Pingshan Art Museum. The four-month exhibition brought together 26 international artists and collectives, forming an interdisciplinary experimental field centered on “Technology × Art,” and invited audiences to navigate a multi-sensory digital environment.


Oceanosmos 的灵感来自作家罗曼·罗兰的关于“海洋感觉”（oceanic feeling）的描述。它旨向一种无限与永恒，是一种主体消融，与外部世界融为一体的感受。 费洛伊将这种“海洋感觉”的解读为一种从胎儿时期保留的原始的自我意识。 Oceanosmo通过空间声音、激光平面、投影、烟雾与水的互动来创造一个沉浸式空间来探索这种“海洋感觉”： 一种自我与世界相化而为一的灵性体验。


Oceanosmos 使用Ambisonic多声道空间声音阵列，用海洋与人体内的声音编织出一个生成式的沉浸式声景。作品使用混沌算法驱动的粒子合成器处理水下麦克风和便携式录音机录制的声音采样，得到一种介于具象和抽象之间的生成式声音景观。

通过生成式声音所提供的线索，Oceanosmos 旨在创造出介于一个深海与子宫之间的世界框架，将观众完全包裹。让观众探索外部与自我之间的关系，感受意识在边缘的徘徊。 同时，多声道空间声音为水面提供震动，对从中穿过投影与激光进行折射，以产生不同的图形模式。同时，声音会配合编程的投影，激光进行实验性的跨媒介叙事。

作品通过沉浸式的非线性多重叙事，引导观众探索内部与外部的关系，将自我的边界消解，与所在空间形成一种连续体。

Oceanosmos由 Jue Studio 成员 彭可、孟畅、赵嘉旌 与 伍悦燊 共同完成。

作品于 2023 年 11 月 21 日首次展演于伦敦实验音乐空间 IKLECTIK的活动 Mirror Mirror 中。随后于 2023 年 12 月 11 日在伦敦教堂空间 St John’s on Bethnal Green 进行第二次演出。作品将具有历史质感的教堂空间转化为沉浸式场域，在回响的建筑声学结构中构建出海洋般的声场体验，使海洋意象与场地历史形成回应与叠合。

2025 年，Oceanosmos首次在中国展出，受邀参与在 坪山美术馆 举办的为期四个月的展览 数字群岛:数字水族馆,（2025 年 7 月 4 日 – 11 月 3 日）。该展览以“科技 × 艺术”为核心，打造跨学科数字实验场，邀请来自全球的 26 组艺术家与艺术团队参与，通过五感漫游构建沉浸式数字生态体验。


︎
Produced by: Ke Peng, Chang Meng, Zhao Jiajing, Bryan Yueshen Wu, Zidi Gong
Performed at Mirror Mirror, IKLECTIK, Nov 21 2023 St John’s on Bethnal Green, Dec 11 2023 Exhibited at Digital Islands: Digital Aquarium July 4 – November 3, 2025 in Pingshan Exhibition Gallery in Shenzhen, China

	
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Exhibited at Digital Islands: Digital Aquarium, 2025 Pingshan Exhibition Gallery in Shenzhen, China


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</description>
		
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	<item>
		<title>Kinkajous A/V Live, 2025</title>
				
		<link>https://kepeng.cargo.site/Kinkajous-A-V-Live-2025</link>

		<pubDate>Sat, 07 Feb 2026 15:42:54 +0000</pubDate>

		<dc:creator>Ke Peng PK</dc:creator>

		<guid isPermaLink="true">https://kepeng.cargo.site/Kinkajous-A-V-Live-2025</guid>

		<description>
	
	
Kinkajous A/V Live︎ Nov, 2025Visual &#38;amp; Scenography


I collaborated with the London based Jazz and Electronic band Kinkajous as the Set Designer and Visual Designer for their new AV live show, which premiered at Southbank Centre as part of the EFG London Jazz Festival on November 14, 2025. The premiere was a sold out event.


For this debut, I conceived and constructed an immersive stage environment that merges installation art, light, and spatial composition. The back of the stage allocates six semi transparent gauses arranged in layers, creating multiple projection surfaces that wrap the performance space in shifting imagery and light.


To introduce a subtle yet tangible sense of movement, strategically placed fans generated gentle air currents. These invisible flows interacted with projected visuals and lighting, producing a fluid and breathing atmosphere where motion emerged not only from the images but from the space itself.


Visually, the work integrates abstract flowing elements such as water like curves, generative color lines and blocks , alongside geological photography and natural material textures. By combining physical material references with generative abstraction, the scenography constructs a spatial field that oscillates between the real and the imagined.


The projection strategy avoided conventional rear projection clarity. Rather than presenting fully resolved images, it emphasized light beams moving through space. In relation to the layered scrim structure, this created a dialogue between flat imagery and volumetric depth, enriching the spatial perception of the audience. The visual language echoed the cinematic, textural, and continuously evolving sound of Kinkajous.


Together, we shaped a performance in which sound, light, structure, and the unseen movement of air became one integrated environment, allowing the audience to experience music and space as a single evolving atmosphere.


我与伦敦 Jazz 与 Electronic 乐队 Kinkajous 合作，担任其全新 AV 现场演出的舞台设计与视觉设计。该演出于 2025 年 11 月 14 日在 Southbank Centre 首演，作为 EFG London Jazz Festival 的官方项目之一。本场首演门票售罄。


在此次创作中，我构思并搭建了一个融合装置艺术、光线与空间结构的沉浸式舞台环境。舞台后方布置六块半透明幕布，以层叠方式构成多重投影界面，使影像与光线在空间中环绕与流动。


为营造细微却真实的动态感，我在空间中设置风扇形成轻微气流。无形的空气流动与投影影像及灯光产生互动，使整个空间呈现出仿佛呼吸般的状态，运动不仅来自画面，也来自空间本身。


视觉语言融合抽象流动元素，例如水般的曲线、生成式色彩线条与色块，同时结合地质照片等自然材质影像。真实材料与生成式抽象之间的叠合，使舞台空间在现实与想象之间游移，构建出沉浸式场域。


投影策略并未采用传统背投以追求清晰完整的画面，而是强调光束在空间中的穿行。结合层叠幕布结构，在平面影像与立体空间之间形成转换与张力，使观众的空间感知更加丰富多维。这种视觉的流动与层次，也呼应了 Kinkajous 电影感与持续演进的声音结构。


整场演出成为一个由声音、光线、结构与空气流动共同构成的整体环境，让观众在不断变化的场域中体验音乐与空间的融合。

Credit Drummer/Producer: Benoît ParmentierSaxophonist: Adrien CauSynths/Keys: Jack DohertyBass: Andres Castellanos Visual &#38;amp; Scenography: Ke PengPhotography: Sisi, Zhang Shixuan


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</description>
		
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	<item>
		<title>The Post-Anthropocene, 2025</title>
				
		<link>https://kepeng.cargo.site/The-Post-Anthropocene-2025</link>

		<pubDate>Sat, 07 Feb 2026 15:43:01 +0000</pubDate>

		<dc:creator>Ke Peng PK</dc:creator>

		<guid isPermaLink="true">https://kepeng.cargo.site/The-Post-Anthropocene-2025</guid>

		<description>
	
	
The Post-Anthropocene
后人类纪
︎ Oct, 2025Lighting Deisgn for Live &#38;amp; Art Exhibition


The Post-Anthropocene: Sound and Art Exhibition was presented as one of the first large scale exhibitions in China to adopt electronic music as a curatorial framework for new media art. Initiated by Europa and developed in collaboration with electronic music producer and DJ Anti-General and media artist Zeng Chen, the exhibition brought together sound, light, and monumental installations to construct a sublime, temple like sensory environment.


The project was held in the main hall of Xie Zilong Photography Museum, a venue recognized for its contemporary architectural design. Its expansive industrial interior provided a powerful spatial backdrop, enabling the show to unfold at full architectural scale.


Blurring the boundaries between DJ performance and contemporary art exhibition, the project introduced a hybrid format that merged live electronic music with immersive spatial installation.


As Lighting Designer for Anti General’s The&#38;nbsp;Post-Anthropocene album launch live event, I transformed the architectural volume into a ritualistic and speculative environment, converging sound, architecture, and light into a unified system. Responding to the concept of the Post-Anthropocene, I developed a science fiction and surreal visual atmosphere that emphasized transition, transformation, and ceremony.


A circular backlight structure was positioned behind the central sculpture, evoking a sense of sacred radiance and unity. Vertical light columns at the front referenced torch like ceremonial imagery, establishing a dynamic relationship between performers and audience. Around the base of the large scale installation, multiple strobe units were placed to generate constantly shifting shadows, amplifying the perception of monumentality and spatial fragmentation. This rapid spatial modulation echoed the rhythmic intensity of the sound, reinforcing the sensation of crossing into another temporal dimension. Wall wash lighting introduced flowing transitions across the industrial surfaces, guiding the audience through an evolving narrative space.


Inspired by Anti General’s music, which draws from diverse folk traditions, ritual cultures, and mystical symbolism, the lighting language sought to embody both archaic memory and speculative futurity. Together, the exhibition and live performance created an immersive passage into a civilization in transformation, where the echoes of the Anthropocene dissolved into the emergence of a new era.


Exhibition
:Oct 1, 2025 – Mar 8, 2026
Performance
:Oct 2 &#38;amp; 3, 2025 Location :Xie Zilong Photography Museum, Changsha, Hunan Province, China


CreditOrganiser: Sichuan Europa Culture Communication Co., Ltd.Supporting Organisation: Xie Zilong Photography MuseumArtists: ZHONG Ziqi (Anti-General), ZENG ChenBrand Support: USMCollaborating Artists: LEI Peng, Ke PENG , WU YangsenCuratorial Team: Sichuan Europa Culture Communication Co., Ltd.Lighting Design: Ke PENGCollaborating Art Team: INCAL PRODUCTIONGraphic Design: WU Yangsen


后人类纪·声音艺术大展 是国内首个以电子音乐艺术为策展理念的新媒体艺术展，由策展机构木卫二Europa联合音乐艺术家Anti-General、新媒体艺术家曾晨等共同呈现，融合声音、光线与大型装置，构建出一种近似殿堂般的沉浸式感官体验。


展览于 谢子龙影像艺术馆 主展厅举行。该空间以其当代建筑设计而闻名。基于其工业气质的空间结构，展演也在建筑尺度上形成空间的张力。


项目打破 DJ 现场演出与当代艺术展览之间的界限，构建出一种融合电子音乐现场与沉浸式空间装置的混合形态。


作为 Anti-General后人类纪展演的灯光设计师，我将原有的工业建筑转化为具有仪式感与未来想象的沉浸式场域，使大型装置、灯光雕塑与空间结构汇聚为一个统一的系统。围绕“后人类纪”这一概念，我构建出科幻与超现实交织的视觉氛围，强调文明的转型与仪式性的转换。


在中央大型雕塑后方设置环形背光结构，营造出神圣般的光晕与统一感。前方垂直灯柱呼应类似火把仪式的象征语言，在表演者与观众之间建立动态的空间关系。围绕大型装置底部布置多组频闪灯，使巨型结构的阴影不断在空间中流动与切换，如同纪念碑般的阴影与空间快速切分扭转，在和你音乐节奏的呼应中，形成一种时空的动态。墙面两侧的洗墙灯的流动变化也引导着观众在工业空间中穿行，进入一个不断演变的叙事场域。


Anti-General 的音乐融合多种文明传统、民俗宗教与神秘主义元素。我的灯光设计也从中汲取灵感，在古老记忆与未来科技之间建立张力，带领观众沉浸式进入一个后人类新纪元的场域。


展览时间：2025年10月1日-2026年3月8日
特别展演时间：10月2日、3日 20:30-22:00展览地点：谢子龙影像艺术馆二楼1、2、3展厅

主办单位：四川木卫二文化传播有限公司支持单位：谢子龙影像艺术馆艺术家：钟子齐 (Anti-General)、曾晨品牌支持：USM合作艺术家：雷鹏、彭可、吴阳森策展团队：四川木卫二文化传播有限公司灯光设计：彭可 合作艺术团队：INCAL PRODUCTION平面设计：吴阳森 


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BTS: Lighting Design (software rendering)


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	<item>
		<title>Creative Lab, 2025</title>
				
		<link>https://kepeng.cargo.site/Creative-Lab-2025</link>

		<pubDate>Sat, 07 Feb 2026 15:42:59 +0000</pubDate>

		<dc:creator>Ke Peng PK</dc:creator>

		<guid isPermaLink="true">https://kepeng.cargo.site/Creative-Lab-2025</guid>

		<description>
	
	
Creative Lab︎ Mar, 2025Laser &#38;amp; Dance 


&#38;nbsp;


As a media artist, I initiated a one-day creative workshop CREATIVE LAB in collaboration with the award winning London based production company Dance Film Performance. The project was conceived as an open laboratory where visual artists, filmmakers, choreographers, and performers gather to explore ideas in real time. It invites the public to witness and engage with the evolving process. 


The first edition launched on March 8, 2025, in collaboration with DFP Artistic Director and choreographer Angelina Gorgaeva. Together, we explored the intersection of movement, light, and spatial composition, developing a performance that emerged spontaneously through dialogue between body and space.


For this edition, I designed a spatial laser installation conceived as a sculptural light environment rather than a conventional stage effect. Two laser projectors were positioned on either side of the space, with a third directed downward from above, forming a three sided field of intersecting beams. Through haze and light, these beams carved the air into visible planes, generating an immersive architecture of luminous surfaces.


Using interactive programming, I experimented with real time relationships between laser coordinates and the dancer’s movement. At times, the laser acted like a brush, drawing fluid lines that traced and responded to the body. At other moments, lateral beams expanded into shifting planes resembling waves, allowing the dancer to appear as if emerging from or submerging within a sea of light.


In the interplay between light, fog, and motion, invisible beams became spatial boundaries. Light defined space, and space became light. Within this constructed field, the body was alternately constrained, released, fragmented, and liberated. CREATIVE LAB became an exploration of the tension between body and environment, revealing choreography not only in movement but in the architecture of light itself.


我与伦敦获奖制作公司 Dance Film Performance 合作发起 CREATIVE LAB 创意实验室项目。这是一场为期一天的实验性创作平台，汇集视觉艺术家、影像创作者与编舞者，在开放给公众的空间中展开现场创作。


首期于 2025 年 3 月 8 日举办，与 DFP 艺术总监 及编舞家Angelina Gorgaeva 合作展开。我们围绕肢体、光线与空间的关系展开探索，使作品在实时互动中有机地生成。


在此次创作中，我将激光设计为一种具有空间感的光雕塑装置，而非传统舞台效果。空间两侧各设置一台激光投影设备，顶部向下设置一台，通过三面光线构建环绕式的光场。在烟雾与光束的交织中，光形成无形的平面切割空气，形成一种虚形的空间结构。


通过互动编程，我尝试将激光点位与舞者的动态实时结合。有时，激光如画笔般在空间中绘制流动线条，在舞者身体周围穿梭；有时，两侧光束扩展为流动的平面，如海浪般起伏，使舞者的身体在光的海面中时而探出，时而沉没。


在光与雾的交融之中，无形的光束成为空间的界面。光即空间，空间亦为光。人的身体在其中被束缚、被释放、被切割、被穿越。CREATIVE LAB 成为一次关于身体与空间关系的实验，探索光与肢体之间所生成的张力与对话。

Credit
Choreographer: Angelina Gorgaeva Visual &#38;amp; Lighting: Ke PengProducer: Kate GordeeDancers: Ming, Serra, MariaPhotograph: Anushka Tendolkar, Ar Liu


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</description>
		
	</item>
		
		
	<item>
		<title>REMIX, 2026</title>
				
		<link>https://kepeng.cargo.site/REMIX-2026</link>

		<pubDate>Sun, 15 Feb 2026 09:43:14 +0000</pubDate>

		<dc:creator>Ke Peng PK</dc:creator>

		<guid isPermaLink="true">https://kepeng.cargo.site/REMIX-2026</guid>

		<description>
	
	
REMIX︎ Feb, 2026Live Visuals


Chang Meng and I created the live visuals for REMIX, a new multidisciplinary show by Tangram featuring stand up comedy and live music by East and Southeast Asian artists.


REMIX explored East Asian identity within a Western cultural context. Musicians reinterpreted “Oriental” musical references through contemporary lenses, while comedians addressed everyday experiences of diaspora, stereotype, and belonging. The visuals were developed to reinforce these themes, providing shifting visual atmospheres that supported humor, critique, and reflection.


As the live VJ, I developed a series of visual systems tailored to different segments of the show, operating in real time in response to the changing live music.


For sections referencing tradition and ritual, I collected a wide range of traditional totemic patterns, which were reinterpreted with more modern style. I then blended them live during the performance creating a sense of ceremony that resonated with the musical reinterpretations of cultural memory.


For more upbeat and rhythm driven segments, I uses bold color blocks, fragmented videos collected on social media, and fast-pacing edits, to creat a dense dynamics that reflected the information overload indicated by the music. The visuals pulsed and glitched in sync with the music , amplifying the overwhelming feeling.


In the more spatial and atmospheric musical passages, I designed particle  resembling cosmic dust. It responded dynamically to changes in tempo and intensity, and creating an immersion aside of the calming music.


The premiere was held at LSO St Luke’s in London on 3–4 February 2026 at 7:30pm, presented across two evening performances.


我与孟畅共同为 Tangram 的全新跨界演出项目 REMIX 创作现场视觉。该项目融合脱口秀与音乐表演，汇聚来自东亚与东南亚的艺术家。


REMIX 探讨东亚身份在西方社会语境中的处境与表达。音乐人从当代视角重新诠释所谓西方视角下的“东方”音乐，脱口秀演员则通过幽默与自嘲讨论日常生活中的文化与身份议题。视觉设计也结合传统元素和现代审美，营造不同的音乐和叙事氛围，增强观众的沉浸体验。


作为现场 VJ，我根据不同表演段落设计了多套视觉系统，并在演出过程中进行实时操控让音乐与视觉更有机的编织在一起。


在涉及传统文化意象与仪式感的段落中，我收集了传统纹样，将其进行更现代设计感的演绎。在现场演出中实时融合，使这些图案如万花筒般持续演变，形成一种当代语境下的仪式，呼应音乐中对文化记忆的再诠释。


在节奏更为欢快、带有流行与电子元素的段落中，我采用更拼贴式的影像。以大面积色块、碎片化的视频与快速切换的剪辑，构建出一种高密度的视觉爆炸，映射社交媒体时代的信息过载的效果。影像也随音乐速度闪动，形成十分动态的现场表现力。


而在更具空间感与氛围感的音乐段落中，我设计了类似宇宙星辰与粒子流动的生成式视觉系统。粒子的速度与流动随音乐强弱变化而实时调整，创造出沉浸纵深感。


此项目首演于伦敦 LSO St Luke’s 举行，2026 年 2 月 3 日与 4 日晚 7:30两场。


Credits
Alex Ho – Music Director / Creative Producer


Sun Keting – Music Director / Creative Producer


Alex Tay – Composer


Dasom Baek – Composer / Daegum


Beibei Wang – Composer / Percussion


Hannah Dienes-Williams – Soprano


Junyan Chen – Piano


Ken Cheng – Comedian


Blank Peng – Comedian


Jinhao Li – Comedian


Jen Zheng – Comedian


Sam See – Comedy Director / Presenter

Visual – PK &#38;amp; Chang Meng


Photography

 –&#38;nbsp;

Mike Skelton


Performed at&#38;nbsp; 3&#38;amp;4 Feb 2026
 LSO St Luke’s, London, UK

More Details:&#38;nbsp;
Tangram REMIX
Event Link


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Visual Design
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BTS
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</description>
		
	</item>
		
		
	<item>
		<title>Tech, Al &#38; Humanity Show, 2025</title>
				
		<link>https://kepeng.cargo.site/Tech-Al-Humanity-Show-2025</link>

		<pubDate>Sun, 15 Feb 2026 17:09:35 +0000</pubDate>

		<dc:creator>Ke Peng PK</dc:creator>

		<guid isPermaLink="true">https://kepeng.cargo.site/Tech-Al-Humanity-Show-2025</guid>

		<description>
	
	
Wu Xiaobo Tech, Al &#38;amp; Humanity Show
吴晓波科技人文秀·AI 闪耀中国︎ Dec, 2025Visual + Lighting Design


On December 28, 2025, the 2025 Wu Xiaobo Tech &#38;amp; Humanity Show took place at the Xiamen International Conference Center and was simultaneously live-streamed on Youku and other online platforms. Under the theme “AI Shining China,” the event explored the current state and future trajectory of artificial intelligence.


I contributed to the project as Visual Designer &#38;amp; Lighting Designer for this project. In a conference hall accommodating thousands of attendees, we created an immersive opening show using a 130-meter-long, 8-meter-high circular LED screen (33,024 × 2,304 px) together with over a hundred lighting fixtures.


The visual design used technological linear structures to articulate the architectural space. Through spatial folding and flowing light particles, the stage transformed into a dynamic portal toward the future. Flower-like particle formations symbolized human brilliance, introducing warmth and humanity into an otherwise technological narrative.


The lighting design responded to both the circular screen geometry and the visual content, guiding spatial perception through beams that traced lines, folds, spirals, and layered transformations. These movements echoed the thematic concept and evoked a sense of blossoming, an unfolding gesture toward a new technological era.


The project balanced the dual context of physical presence and live broadcast, creating a cohesive yet dynamic visual experience across both architectural space and digital screens.

Between flowing light and folded space, a portal toward the future emerges.


2024年12月28日晚，“2025吴晓波科技人文秀”在厦门国际会议中心举行，并通过优酷等线上平台同步直播。本届跨年秀以“AI闪耀中国”为主题，围绕人工智能的发展现状与未来趋势展开讨论。


我作为视觉设计与灯光设计参与此次论坛及直播项目。在容纳千人的会展中心大厅中，我们以130米长、8米高的环形LED巨幕（33024×2304px）与上百台灯光设备，共同打造了一场围绕AI、科技与人文展开的沉浸式开场秀。


视觉设计以科技感线条贯穿整个空间结构，通过空间折叠与流动的光点，构建出一个不断展开的未来入口。花朵般绽放的粒子意象象征人性的光辉，在冷峻理性的技术语境中注入温度与生命感。


灯光设计则结合环形屏幕的形态与视觉内容，在空间中进行方向性引导与结构强化。光束划出线条，形成折叠、螺旋与层叠的变化，与视觉叙事呼应，呈现出科技语境下的“花朵绽放”, 一种向未来展开的空间姿态。


该项目在现场与直播双重语境中呈现，

在流光与空间折叠之间，想象一个通向未来的入口。


Full Video:
https://youtu.be/c1wABfqamaE?si=EhP1CZY8hrD6bwlR


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Lighting Design for Opening Show
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Visual Design


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</description>
		
	</item>
		
		
	<item>
		<title>Bound/Unbound, 2024</title>
				
		<link>https://kepeng.cargo.site/Bound-Unbound-2024</link>

		<pubDate>Sat, 07 Feb 2026 15:43:07 +0000</pubDate>

		<dc:creator>Ke Peng PK</dc:creator>

		<guid isPermaLink="true">https://kepeng.cargo.site/Bound-Unbound-2024</guid>

		<description>
	
	
Bound/Unbound
︎ Aug, 2024Visual for Music&#38;amp;Dance Theatre, 2024


As Set designer and Visual designer, Chang Meng and I collaborated with the London based artist collective Tangram on Bound/Unbound, a multimedia dance and music theatre production that premiered at LSO St Luke's on Friday 9 and Saturday 10 August 2024.


The work traces the intertwined histories of two significant nineteenth century Chinese women, Afong Moy and Qiu Jin. Afong Moy, exhibited in America in 1834 as an exotic spectacle, embodies the objectification of Chinese female identity in the Western gaze. Qiu Jin, a poet and revolutionary, defied patriarchal norms and became a symbol of women’s emancipation. Their parallel narratives unfold through opera, contemporary dance, and live music, forming a visually layered theatrical structure.


The production brought together cross cultural performers including choreographer and Chinese sword dancer Yining Chen, percussionist Beibei Wang, Korean soprano Haegee Lee, alongside musicians from the London Symphony Orchestra.


Our stage design centered on a circular enclosed fabric chamber positioned mid stage, initially sealed and gradually opened in the second half. Two large gauze screens were suspended on both sides, creating spatial depth and translucent projection surfaces. Performers first appeared as shadows behind the gauze, then emerged into full light as the chamber opened, marking a visual transformation aligned with shifts in identity and agency.


Conceptually, the circular structure referenced containment and display, echoing how Afong Moy was presented as a living exhibit. The opening of the chamber suggested rupture and resistance.


Projection design supported the dramaturgy through restrained symbolic elements. Ink textures evoked introspection and cultural memory, while fire imagery suggested rebellion and awakening. Animated Chinese calligraphy carrying Qiu Jin’s poetry moved across the stage, at times condensing into concentrated beams of light that converged with Yining Chen’s sword choreography. In these moments, text, light, and movement aligned to form the emotional climax of the piece.


Bound/Unbound constructed a multi sensory theatrical environment in which installation, projection, choreography, and live music were structurally interwoven. The visual design functioned as a spatial and symbolic framework, transforming historical narratives into a contemporary reflection on visibility, resistance, and female agency.


LSO Official Page:
 https://www.lso.co.uk/whats-on/tangram-x-lso-bound-unbound/


Reviews
“This is a masterful telling of new writing about China’s history, realised with a deep-rooted originality that is provocative throughout. ”——MorningStar
“Intoxicating overall mood” ——The Stage


Credits
Directors:Alex Ho and Sun Keting&#38;nbsp; Composers: Alex Ho and Sun Keting&#38;nbsp; Soprano:Haegee Lee &#38;nbsp; Choreographer: Yining ChenPercussion: Beibei Wang Visual Designers: Chang Meng and Ke Peng Musicians from London Symphony OrchestraWriters: Xiaolu Guo, Alex Ho and Sun Keting Translator &#38;amp;Consultant:Yilin Wang Qiu Jin Based on an original script by Xiaolu GuoPhotography : Mike SkeltonSpecial thanks to LSO production team
Co-produced by Tangram and the London Symphony Orchestra with support from the Bagri Foundation and Arts Council England


作为舞台设计与视觉设计，我和孟畅与伦敦艺术团体 Tangram 合作创作多媒体音乐舞蹈剧场作品Bound/Unbound。作品于 2024 年 8 月 9 日与 10 日在伦敦 LSO St Luke's 首演。


作品围绕两位十九世纪重要的中国女性：Afong Moy 与 Qiu Jin 的历史命运展开。1834 年被作为“异国展品”带到美国展出的 Afong Moy，象征着西方凝视下被物化的东方女性形象；而革命者与诗人秋瑾则以反叛姿态打破父权秩序，成为女性解放的象征。作品通过歌剧、当代舞蹈与现场音乐交织叙事，在舞台上构建出双线并行的历史结构。


演出汇集了多位跨领域的艺术家，包括编舞及中国剑舞表演者陈奕宁、打击乐演奏家王贝贝、韩裔女高音 Haegee Lee，以及伦敦交响乐团的音乐家。


舞台设计以舞台中央一个圆形封闭织物装置为核心，该结构在上半场保持封闭状态，在下半场逐渐开启。两侧悬挂的大型纱幕增强了空间纵深，并作为半透明投影界面。表演者最初仅以剪影形式出现在纱幕后，随着结构的开启走入光中，形成身份与主体意识转变的视觉表达。


圆形装置既是空间结构，也是象征符号，它隐喻了Afong Moy 被展示与凝视的状态，指向“被观看”的处境。当结构被打开时，象征压迫的边界被打破，空间转向开放与抗争。


在影像设计上，我们运用抽象水墨纹理营造内省与文化记忆的氛围，以火焰意象象征觉醒与反抗。动态书法影像在空间中流动，呈现秋瑾的诗句，并在高潮段落中凝聚为光束，与陈奕宁的剑舞动作形成视觉轴线，使文字、光线与肢体在同一能量场中汇聚。


Bound/Unbound&#38;nbsp;构建了一个多感官交织的剧场空间，舞台装置与影像设计不仅服务于叙事，更构成作品的结构框架，使两位女性的历史故事在当代语境中转化为对可见性、主体性与女性抗争的思考。


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&#60;img width="1503" height="2252" width_o="1503" height_o="2252" data-src="https://freight.cargo.site/t/original/i/d03adf1633861d61eade16d2d3a38bb3446fc9819bd812b97da7b81975f379fb/240808-Tangram-Bound-Unbound-Reherasal-2-8951-small.jpg" data-mid="244550469" border="0"  src="https://freight.cargo.site/w/1000/i/d03adf1633861d61eade16d2d3a38bb3446fc9819bd812b97da7b81975f379fb/240808-Tangram-Bound-Unbound-Reherasal-2-8951-small.jpg" /&#62;

&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/d0105ace47456968b61558a22024436e2ef7c88941507d73ac34c4faf9125651/240809-Tangram-Bound-Unbound-Concert-1_HighRes_c-Mike-Skelton-0033-small.jpg" data-mid="244550482" border="0"  src="https://freight.cargo.site/w/1000/i/d0105ace47456968b61558a22024436e2ef7c88941507d73ac34c4faf9125651/240809-Tangram-Bound-Unbound-Concert-1_HighRes_c-Mike-Skelton-0033-small.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/decec81530a1ea262315c6d38d5661ae09f27a7f940d251e26217fa9b2ce4dc0/240809-Tangram-Bound-Unbound-Concert-1_HighRes_c-Mike-Skelton-9526-small.jpg" data-mid="244550481" border="0"  src="https://freight.cargo.site/w/1000/i/decec81530a1ea262315c6d38d5661ae09f27a7f940d251e26217fa9b2ce4dc0/240809-Tangram-Bound-Unbound-Concert-1_HighRes_c-Mike-Skelton-9526-small.jpg" /&#62;

&#60;img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/071a5322071fdc3cf1e7521d27139d7ee1847be0ce6c1c985aa9deaa431a5016/240808-Tangram-Bound-Unbound-Reherasal-2-8597-small.jpg" data-mid="244550495" border="0"  src="https://freight.cargo.site/w/1000/i/071a5322071fdc3cf1e7521d27139d7ee1847be0ce6c1c985aa9deaa431a5016/240808-Tangram-Bound-Unbound-Reherasal-2-8597-small.jpg" /&#62;

Visual Designs
&#60;img width="800" height="450" width_o="800" height_o="450" data-src="https://freight.cargo.site/t/original/i/6d8bf924955ff85286b16c6ed5168865df2aef56546ecbc41e23fcf206423780/act-4-qiujin-02.gif" data-mid="244550484" border="0"  src="https://freight.cargo.site/w/800/i/6d8bf924955ff85286b16c6ed5168865df2aef56546ecbc41e23fcf206423780/act-4-qiujin-02.gif" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/1a5303f6418ed8c2cfe9dd9dd0d2759d63e51e52330b31dcac82c13621e742fe/act-4-qiujin-02.00_04_02_07.Still006.png" data-mid="244550485" border="0"  src="https://freight.cargo.site/w/1000/i/1a5303f6418ed8c2cfe9dd9dd0d2759d63e51e52330b31dcac82c13621e742fe/act-4-qiujin-02.00_04_02_07.Still006.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/fe85bc0f6fd2dee58d4f65876e5c65ac8a479c73fe0fdfb23a2a446c03c7dd09/act-4-qiujin-02.00_02_38_17.Still007.png" data-mid="244550487" border="0"  src="https://freight.cargo.site/w/1000/i/fe85bc0f6fd2dee58d4f65876e5c65ac8a479c73fe0fdfb23a2a446c03c7dd09/act-4-qiujin-02.00_02_38_17.Still007.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/994a5df24f5d4b4bdaa9a47344706005214954a175405520f71b87ccec1152ba/act-2_rcandle.00_01_38_23.Still002.png" data-mid="244550486" border="0"  src="https://freight.cargo.site/w/1000/i/994a5df24f5d4b4bdaa9a47344706005214954a175405520f71b87ccec1152ba/act-2_rcandle.00_01_38_23.Still002.png" /&#62;


&#60;img width="800" height="450" width_o="800" height_o="450" data-src="https://freight.cargo.site/t/original/i/87c4faf30cfd26d16cdd40a42dd234ee274c314ab128b0e80b82b5dc5de2dac8/ACT1-ALL-Aug4-.gif" data-mid="244550491" border="0"  src="https://freight.cargo.site/w/800/i/87c4faf30cfd26d16cdd40a42dd234ee274c314ab128b0e80b82b5dc5de2dac8/ACT1-ALL-Aug4-.gif" /&#62;
&#60;img width="800" height="450" width_o="800" height_o="450" data-src="https://freight.cargo.site/t/original/i/59804aa0e19b8683185fa9c3630d5d6cf114d546a8afff15effff4232917dfad/Manifesto-.gif" data-mid="244550492" border="0"  src="https://freight.cargo.site/w/800/i/59804aa0e19b8683185fa9c3630d5d6cf114d546a8afff15effff4232917dfad/Manifesto-.gif" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/efaab320653688070a323518be418b3375facd1bd7c7961920d7a9a03862bf48/ACT1-New-Aug4.00_01_07_25.Still002.png" data-mid="244550489" border="0"  src="https://freight.cargo.site/w/1000/i/efaab320653688070a323518be418b3375facd1bd7c7961920d7a9a03862bf48/ACT1-New-Aug4.00_01_07_25.Still002.png" /&#62;


Full Performance Video:


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