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As a triptych, the work splits our focus in two directions: the accumulation and recollection of an incident, and the disintegration of reality itself.

This is why I’m drawn to the structure of Tarkovsky’s Solaris as a framework for the installation. Its narrative structure resonates with the surreality of the metaphorical relationship between my images and soundscape.

Both 30-second sound excerpts are drawn from a 22-minute analogue cassette tape, with free guitar fragments layered into Master Gen 1.1 field recording.

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Introducing ‘Eyes of Ukedo’

I want to present this work as a triptych, exploring opposing ways of reconstructing an image.

Install features the Marcel Sofa by Kazuhide Takahama for Gavina, set within the levitation scene from Tarkovsky’s Solaris.

Surrounding the mantle, Ukedo ‘miracle school’ appears fourfold in the central panel. You’re levitating above Eyes of Ukedo, an earthquake destroyed road suspended over rice paddies reclaimed by wetlands.

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I started this new soundscape series by manipulating prints and introducing free guitar sounds into my field recordings.

This is one of my favourites - Shinmaiko Beach at Futaba coast. Print manipulation is a new way to release hidden messages and open up another universe.

Poet friend Michelle said to me write down my thoughts as they come, without overthinking it or trying too hard

I try to play guitar by making:

“Sound that doesn’t mean anything.”
“It becomes a new texture.”
“Velocity directs the way. It goes much faster.”
“Pitch controls colour.”
“The most interesting part is when sound and image become one. Move at the same pace…”

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LAST CHANCE TO HEAR THE ANATOMY OF FUKUSHIMA ORCHESTRA.

FUKUSHIMA / 2026

@gallery1313 Process Gallery Today · Sept. 13

LIVE CASSETTE DUBBING DEMO 1:00–3:00 PM

HERE WE DUB AGAIN.

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FUKUSHIMA 2026 by Yulun Chen

On display in the Process Gallery at Gallery 1313, as part of the group exhibition The Parkdale Biennale Project.

Through double exposure and layered soundscapes, Chen reflects on memory, trauma, and our relationship with nature, creating a space for viewers to slow down, listen, and reflect on these ideas.

Tomorrow is the last day to experience FUKUSHIMA 2026 at Gallery 1313. Make sure to come check it out!

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STILL HERE.

FUKUSHIMA / 2026

One more day to live
the final dub of this weekend
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Meet me in the hiss
@gallery1313
Sept. 12 & 13

Saturday 1:00–5:00 PM
Sunday 1:00–4:00 PM
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LIVE CASSETTE DUBBING DEMO
Sept. 13 · 1:00–3:00 PM

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THE ANATOMY OF FUKUSHIMA ORCHESTRA
ACT. 3 - DEGRADATION / REGENERATION

DEGRADATION

With each dub, the tape changes

Frequencies soften, noise accumulates. Details disappear ..

But degradation isn't simply loss
It becomes another layer of the recording.

“Nothing returns exactly as it was.”

Fifteen years after 3.11, Fukushima also exists somewhere between intervention, absence and return — between what has been altered and what begins to regenerate.

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LAST CHANCE TO HEAR THE ANATOMY OF FUKUSHIMA ORCHESTRA.
Sept. 11–13 · Gallery 1313 @gallery1313

LIVE CASSETTE DUBBING DEMO
Sept. 13 · 1:00–3:00 PM

HERE WE DUB AGAIN.

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THE ANATOMY OF FUKUSHIMA ORCHESTRA
ACT. 2 - MULTITRACK / LAYER

MULTITRACK

Different layers exist simultaneously.

Field recordings can function almost like tracks—human activity, water, machinery, birds, footsteps, voices, wind, silence...

Each recording holds its own presence. Brought together, they begin to occupy the same space.

“What happens in the foreground does not erase what is happening behind it.”

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COME HEAR THE DUB.
Sept. 9–13 · Gallery 1313 @gallery1313

LIVE CASSETTE DUBBING DEMO
Sept. 13 · 1:00–3:00 PM

HERE WE DUB AGAIN.

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POWERED FUTURE - LOT 02
Namie, Fukushima.

Before the dub, there was the field.
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An EV battery-powered street lamp
Standing in a landscape where reconstruction, technology, and the idea of our future overlap.

FUKUSHIMA / 07.2026

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ACT. 1 - MIXTAPE / DUB
OOH :OUT OF HOME

I recorded what was around .

Vacuuming - A clock bell Screwed
from carpentry birds
Chirping over decontaminated soil

They come from domestic life, work, rebuilding, and a landscape trying to return.

I took these sounds out of their places and put them onto tape.

Then I dubbed them

From one tape to another. Something is carried forward. Something is also lost, distorted, or left behind.

FUKUSHIMA / 2026

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COME HEAR THE DUB.
Sept. 6–13 · @gallery1313

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THE ANATOMY OF FUKUSHIMA ORCHESTRA
ACT. 1 - MIXTAPE / DUB

MIXTAPE

A mixtape is a personal act of selection and sequencing. You decide what enters, what follows, what gets left out. It turns recorded material into a narrative.

DUB

Not simply ‘copy.’ In Jamaican sound-system culture, dubbing can mean taking an existing recording and transforming it—emphasising, cutting, extending, remixing, creating another version.

FUKUSHIMA / 2026

I approach my field recordings in much the same way—selecting, sequencing, mixing and dubbing fragments of what I encountered in Fukushima.

Each tape becomes another version of the place, shaped by what is heard, what is selected, and what is left behind.

The recording changes through the act of being passed on.

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COME HEAR THE DUB.
Sept. 6–13 · Gallery 1313 @gallery1313

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Last night my invitee list was just as long as my immigration journey in Canada.

I restarted my life from scratch, and Gallery1313 @gallery1313 has been a place where I’ve been able to dream big. I even joked about how I had already imagined what I was going to wear to the reception before I had even applied for the show.

I want to take a moment to recognise and thank everyone who came in the order of “drifting”:

The world-class sales champion team @kioskdesign ; Korean-Canadian artist and mentor Sanghoon; fellow artist from process gallery Elaine Lauzon; Bill Ward; Brit-pop star Stephen; magnificent hairstylist Haruna ;Arts Management cohort Danilo; Museum & Cultural Management cohorts; Wendy & Anson; Bryton & Steph; Vytik Art Collective; gallery member Hugh Alcock, with whom I ended up talking about Guy Debord and The Society of the Spectacle; Korean-Canadian illustrator Yoon Ju; gallery director & mentor, the person who gave me this opportunity, Phil Anderson.

The show is only a baby step in a much longer trip.

Thank you for being part of my never-ending psychedelic journey

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