Han Cheng Yeh

Music production / Photography








韓 承 燁
Discover the world of Han Cheng-Yeh, a versatile music producer, sound designer, and photographer. Based in Taipei, Han's work spans across various media, blending electronic synthesizers, piano, and orchestral elements to create captivating music and visual experiences. Explore his projects, achievements, and collaborations in the fields of music and visual arts.






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Music Production

Delve into the musical creations of Han Cheng-Yeh, featuring a blend of electronic, neo-classical, and ambient sounds. Listen to his film soundtracks, original compositions, and collaborative projects that have graced festivals and prestigious events worldwide. Available on SoundCloud, Spotify, and other music platforms.’




 

A/V _ Music Production
Dec-Nite
Dec-Nite / music production and performer / 2024

This is a 50mins audiovisual live performance produced by the Taichung Opera House, with sound by Han Cheng-yeh and visuals by Chang Fang-yu. The music combines electronic soundscapes, a string quartet, piano, and vocals, and is complemented by Chang Fang-yu's laser projection visuals and a large circular installation,




A/V _ Music Production

Void_Jungle

Void Junle / music production / 2017

白靄林 Void Jungle is a meticulously orchestrated audiovisual performance produced by mwva, a collective of Taiwanese digital artists. For Void Jungle, and many of their past projects, mwva has focused on exploring the link between sound and vision. Their work aspires to take digital creations and present them in the physical realm through the use of spatial structures, interactive installations, and in this case, a live performance.

Human perception is interconnected, where sound can evoke visuals, and visuals can be associated with sound. When receiving both types of information simultaneously, the fusion of yin and yang sparks sensations beyond the original perceptions of sight and hearing. To elaborate, when light becomes visible, the previously intangible sound starts to connect with the light beams. At this moment, the light embodies the immense form of the "White Mist Spirit," and the sound expresses the whispers of this forest.

The music of "白靄林 White Mist Spirit" begins with slow ambient sound effects, suddenly introducing the first beat rhythmically. Through continuous layering and buildup, it gradually outlines the specific form of the White Mist Spirit, ultimately burning like a flame into ashes on the forest horizon. The music operates within a framework of ethereal, organic, and disintegrative elements, inviting the audience to freely choose their position for receiving information. Each angle offers a different shape: from a distance, one can observe the entirety of the White Mist Spirit, which provides a magnificent visual experience, while up close, one can feel the warmth of the forest (it's really quite hot, and the light can burn).

Music composition





Nature Knows is Bito’s concept for this year’s ceremony, emphasizing the importance of cycles in nature and sustainability in design. The opening video at the ceremony echoes this concept, featuring a girl who finds pollution, and sets out on a journey with the pollution through jungles, oceans, and outer space. In the end, she plants the pollution in the ground as a seed that grows into tree, representing a cycle in nature. The opening video’s message to designers at the ceremony is to promote sustainability in design.









For this year’s ceremony, the Awards organizer transformed “2020” into a symbol that represents an opportunity for change, hoping to encourage designers and businesses alike to reflect on the existing model and rethink the meaning of the creative design, so as to seek out a more sustainable future together at this critical juncture in time that marks the fulcrum between the old and the new.





《Swingphony》| Taiwan Pavilion Showreel




Taiwanese pavilion 'Swingphony' at the 2021 London Design Biennale

Taipei-based experience design studio Bito’s ‘Swingphony’ is a symphony of metronomes produced for the Taiwanese pavilion at the 2021 London Design Biennale.

Bito’s designer Chin-Ho Kao visited more than 50 Buddhist and Taoist temples in preparation for designing the exhibit. We took inspiration from all the colors, sights and sounds discovered during their six-month-long trip, which took them to 20 different towns and villages across Taiwan. Incense smoke, lanterns and the rhythm of chanting became the main inspirations.

The resulting exhibition is a combination of experience design by Bito, spatial design by Bird Hsu and music by composer Cheng-Ye Han. In addition, Ta Chung Liu was commissioned to create the metronome for the exhibit, drawing on the form of praying hands and wielding a stick of incense in place of the pendulum. All four elements were then synchronized to produce a symphony, which resonates with a sense of mindfulness and serenity.









In contrast with last year's video, this year’s video to the Golden Pin Design Award ceremony is colorful and up lifting. It reflects the importance of cycles in nature, and sustainability in design. Designers must address environmental issue and incorporate sustainability into their work.







Tzolk’in Light form Peppercorn




Time is like a form of art. Time is not meant to regulate us, but is a holistic and natural set of energies and rules. Tzolk’in is the basic cycle of Mayan calendar. The work re-interprets the rules of time and the energy of natural operation through the Mayan calendar. The work presents a stereoscopic vision and sound in space to express the energy of stored life, and presents the transition in the four levels: construction, frequency modulation, synchronization and regression. Through the performances of points, lines and planes in the three-dimensional space, it applies the concept of the Mayan calendar to symbolize the opening of the Milky Way. Just like the moon, a new light is ready to shine through infinite darkness.








Sand box form Peppercorn



."Sandbox Reconstruction Project: Dome Edition"

Utilizing unique dome projection, aims to transport the audience into a space that explores the intertwined relationship between human civilization and digital technology. By combining visual arts and sound effects, it depicts how humans reconstruct connections through a unified computer language, forming a modern-day Tower of Babel






The 58th Golden Horse Awards
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Music Conposition

The 58th Golden Horse Awards | Nomination



The 58th Golden Horse Awards | Prologue



The 58th Golden Horse Awards ceremony, with its theme of "Refocusing," kicked off with a grand opening film. This video offers a glimpse into the worldviews behind the three main visual designs of this year's Golden Horse Awards, meticulously constructed using the principle of "experimental creation."

 The imagery transitions from blurred to focused, intertwining realistic and fantastical worlds, and presents perspectives from both microscopic and macroscopic viewpoints. It narrates how, under the lens of focus, everything operates like an organism.






Discover the photographic artistry of Han Cheng-Yeh, capturing the beauty of everyday moments and the poetry of light and shadow. His works include personal collections, published photo books, and exhibitions that reveal a deep sensitivity to the visual world. Browse through his galleries to experience his unique perspective.


Photo
graphy


遠方
245 pages
Publisher ‏: ‎Cite Publishing Limited (Feb , 2012)
ISBN : 978-986-600-904-4
Dimensions : 23cm x 1.8cm x 17cm
Language ‏: Chinese














"Distance" is a distance that cannot be quantified, whether it is a maximum value or a minimum value, walking on the timeline without beginning or end, such a feeling always exists. What creates distance between the heart and what? What has been recorded in this moment now? In these images, perhaps, there are stories and experiences that we all share...


強制破壞方法之一
64 Pages
Dimensions : 23cm x 0.7cm x 31cm2015















Why do humans engage in "destruction"? As a method, it can be a solution in times of crisis, a path to premeditated rebirth, or something else entirely. It embodies an active, aggressive attitude on one hand, while on the other, it involves the damaging reduction, a continuous battle of establishment and destruction. It is a process, dynamic as it unfolds, and it is a result, leaving scars for all to see. Humans reject it yet need it, as "destruction" epitomizes complete contradiction. "Compulsory Destruction Methods – An Image Creation Solo Exhibition by Han Cheng-Ye" attempts to reflect on and record the various forms of destruction humans face—concrete, abstract, mental, and physical—using the unique vocabulary of photography and imagery. This creative project seeks to expand its scope from a personal focus to a societal reflection, utilizing still photography to process the theme as a "series," documenting the various ways humans engage in self-destruction and reflecting this within contemporary society. It aims to depict the self-restraining and self-immersing state of humanity. To some extent, "destruction" is a manifestation of contradiction: it shows an active, aggressive attitude on one side, while on the other, it involves damaging reduction—a continuous battle between establishment and destruction. By recording the process of destruction, we might trace back to the origin of an event or state, finding new exits from within.

The concept of "Compulsory Destruction Method I" was realized with female dancer Melanie Wirz. This series attempts to express how the more people strive to break free from a constrained life, the more they fall into a chaotic sense of helplessness. This stems from humanity's inability to see its inherent flaws clearly. Under the guise of civilization, many malicious events are taken for granted, and our typical response is to remain detached, which has become the norm for survival. Starting from a seemingly ritualistic action, the dancer begins to move her body unconsciously in an abandoned sports field. Through the photos, viewers can imagine the body's slight sway, gradually awakening itself and dancing with the grass, trees, sunlight, and wind of that moment. The movements then become extensive stretches, twists, jumps, and spins. Each photo captures poses that are both tense and fluid, the dramatic lighting drawing viewers into a surreal dreamscape. At times, it's impossible to discern the body's state in the image, only classifying it as an organism extending from a dream. It uncontrollably occupies the entire frame, in complete freedom. Viewers' curiosity is inevitably piqued, wondering how the event will unfold. Suddenly, a streak like a spilled glass of water cuts through the sky, only to discover in the next image that it's not water but plastic, like cling film, spreading from the dancer's abdomen to her entire body. Forced to stop dancing, she struggles violently against the plastic enveloping her. The grainy images and low-angle shots make the scene look smoke-filled, with grass and trees like flames, as if the whole scene is burning. The more the dancer tries to break free, the more she seems consumed by her predicament. The final image freezes from an overhead angle, showing the dancer fallen, the plastic wrapping her body, even sealing her eyes and nose, leaving her immobilized. Only her mouth is spared, using the last bit of strength to breathe. This stillness is a stark contrast to the previous dynamic scenes, so much so that it seems as if the prior turmoil never existed.
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