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For about a decade, my process of composing has always been accompanied by abstract visual effects or natural phenomena, like dust caught in rays of light, the movement of leaves on a tree, for example. A perpetual return trip —?the juxtaposition between the auditory and the visual, or between a musical gesture and a physical one?— which describes the nature of timbre. Form remains open, welcoming other artistic elements such as video, light installation, scenography, dance. These interrelationships come from my pieces that make up the cycle, 'Le train de vie I – V', in which I express my vision of the world: the train of life welcomes all, known or unknown, who board and alight the train in journeys both short and long. To each her own destination with a path to (par)take, as humanity intersects at any given moment on the train. And the train continues…

The title is a phrase taken from Emily Dickinson's “Poem A 202” in
'The Gorgeous Nothings' (New York, Ed. Christine Burgin / New Directions, 2013) which contains the manuscript fragments of Emily Dickinson (1830-1886).
[Liao Lin-Ni]

• Commissioned by Chen Hui-Mei, with the support of the National Culture and Arts Foundation
• Premiered on May 4th 2019 at the Black Box, National Taichung Theater — Taïwan by Chen Hui-Mei (flute) & Chen I-Ju (tam-tam)

1977 – *

Free and discrete, Lin-Ni Liao grasps the gesture of the instrumental from a poetic perspective. Her unique sensitivity guides her through a world of shadow and light.

Find a selection of her works at Maison ONA.