Founders of the artist studio OCEAN & WAVZ based in Paris (France), we are Larys Frogier (born in Polynesia, Pacific Ocean) & Alfie Chua (born in Singapore). We create visual artworks, compose electronic music, write poems & essays. These practices are based on long-term research and curatorial projects developed in different parts of the world.
In 2018, we made the decision to engage into multi-disciplinary creative practices as :
OCEAN for the representation of a multitude of human and non-human components constantly migrating, growing and exchanging through the uncontrollable flow of water in the immensity of the sea
WAVZ as the reappropriation of a digital audio file “format” to be transformed into “infinite and opened movements of sounds”, echoing the ones of the oceanic waves.
Our roots/routes are crossing Europe (Denmark, France, Germany), Asia (China, Japan, Malaysia, Singapore), and the Pacific Ocean (Polynesia and the Latin America shores).
Our take-away from the research and creative practices as mentioned above are as follows:
1- To value caring relations with others based on the following topics:
– The development/combination/exchange of bio and cultural diversities in current geopolitical reconfigurations of the world
– The reification of art institutions and the urgency to institute differently vernacular artistic/cultural practices as well as to invent new ways of living/working based on active solidarities
– The practice of ecology not as an anthropocentric ecosystem to plan, draw, apply, preserve and control, but as a multitude of life experiences, imaginary worlds (natural, digital, human, subhuman…) to embrace.
2- To nurture a strong passion for working on the fabrication of language and image in the interstices of sound/picture/word.
We would capture/archive/combine and recreate traces, objects, sounds, images, gestures of daily life most often discarded or forgotten, creating an ambiguous feeling between the historical practices of archive and these new forms of “clouds” or “image garbage cans” in “fake-free” access on the internet. Such practice aims to question our relationship to language in its capacity to turn conventional forms of narration and performance inside out. It is also about a critique of the current devices of control and surveillance that are conceived and exploited by financial and political organizations. And fundamentally, we believe in the power of “poor” images in contemporary contexts of overconsumption of crystal clear images overproduced by “anyone” today (industries, artists, users, followers, artificial intelligence…).