Solo Exhibition of Graphic and Visual Practice平面与视觉实践个展
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This 2020 solo exhibition looks back at Bai’s graphic and visual practice beginning around 2000. Before studying design, he was already participating in Shenzhen’s early underground music scene as a guitarist. While studying visual communication at university, people within the same scene began inviting him to design posters and event imagery for bands, underground shows, and electronic-music events. The exhibition therefore shows how sound was already running alongside his visual practice long before it became an explicit artistic medium.
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Around 2000, Bai first entered Shenzhen’s underground music scene as a guitarist. After beginning university studies in visual communication, bands and event organizers around him asked him to make posters and visual material. Design was not what brought him into the music scene; rather, his existing experience of performing and being present at shows brought design into that cultural environment.
The posters communicated dates, venues, and line-ups while using image, type, colour, and composition to respond to particular music and the atmosphere of live events. Distributed, posted, and kept, they also became visual records of those activities. For Bai, sound first existed as a lived performance environment, while visual design became an early way of responding to it.
The 2020 exhibition brought these materials together. Seen in retrospect, Bai’s later use of field recordings, modular synthesizers, moving image, and live performance is not a sudden turn away from a purely visual practice, but the gradual movement of a long-standing sonic experience into the material of the work itself.
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这次2020年的个展回顾柏志威自2000年前后开始的平面与视觉实践。进入设计之前，他已以吉他手身份参与深圳早期地下音乐现场；大学学习视觉传达后，因为本来就在这一圈子里，他开始为身边的乐队、地下音乐与电子音乐演出制作海报和活动视觉。展览也因此呈现声音如何早于其声音艺术实践，就已经与视觉工作并行存在。
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柏志威在2000年前后先以吉他手身份参与深圳地下音乐现场。进入大学学习视觉传达之后，身边的乐队与演出组织者开始邀请他制作海报和活动视觉。设计并不是他进入音乐圈的入口；相反，是既有的演奏和现场经验，把视觉设计带进了这个文化环境。
这些海报需要传递时间、地点和阵容，也通过图像、字体、色彩和版面回应具体音乐与现场气氛。印刷品随着张贴、派发与保存留下活动的视觉记录。对柏志威而言，声音最初首先作为亲身参与的演出环境存在，视觉则成为他早期回应声音的一种方式。
2020年的个展把这一阶段的平面与视觉材料集中呈现。今天回看，他后来直接使用田野录音、模块合成器、动态影像和现场演奏，并不是从纯视觉实践突然转向声音，而是让一条早已存在的声音经验逐渐成为作品本身的材料。
