2014，裝置與新媒體，40x37x37cm
蔡坤霖以地理與歷史的疊合調查為其主要創作核心，作品形式包含裝置、版畫、雕塑、聲音、錄影等。他認為自己的創作是先和環境互動，得到訊息後再挑選適合的媒材和形式，像接受器般，運用感知在感應生活並回應環境。蔡坤霖認為每個地方除了可見的、具辨識度的「地標」外，其實還有所謂的「音標」，可以由此來認識一個環境。〈來自遠方的聲音—京都〉塑膠管內，播放著錄製於日本京都，設置於傳統庭園的裝飾物「水琴窟」的聲音，京都人以這種傳統聲音裝置來讓使用者了解水的珍貴。黑色的外形則象徵京都廟宇沉著的玄黑。作品塑膠管與底座的顏色與當地意象呼應，曲折造形意味著來自遠方的聲音路徑。蔡坤霖認為他的作品是個媒介，希望觀者參與互動聆聽，透過材質、色彩和聲音，從作品中獲得新的感官應驗，回到自己的生活後，能夠以新的方式去面對自己周遭的環境。
The nucleus of Tsai Kuen-Lin’s art—the probe into where geography and history overlap—is demonstrated in his works in various genres including installations, print, sculptures, audios, and videos. Speaking of his art-making, Tsai says he interacts with and receives signals from the environment before choosing the right medium and form to work with, comparing himself to a receiver that senses what’s happening in life and responds to the surroundings. Tsai believes that we can gain a better understanding of a place through its soundmarks, in addition to the visible and well-recognized landmarks. The Sound from Far Away– Kyoto is the sound of a suikinkuts, a traditional Japanese garden ornament and music device, in the Japanese city. Such devices are installed by the locals to remind users of the preciousness of water. The blackness of the pipes, on the other hand, parallels the calming pitch black of the city’s temples. The colors of the pipes and the stands in the art pieces echo imagery of the cities, while the pipes’ winding shape implies the path of the sounds from far away. Tsai views his art as a medium to engages the audience in listening. He hopes that with new sensual experiences gained from his artworks, by interacting with the textures, colors, and sounds, the audience can see their surroundings in a new light when returning to their daily life.
