Trained in classical music composition at Princeton University in the US, Samson Young’s works are often reactions to his own musical background. His approach to sound, both as a visual artist and as a composer, is very specific, an attitude that has led him away from predetermined frameworks. From musical compositions to performances, installations, new-media work and drawing, he plays freely with media to create a language that fits his investigations. Caroline Ha Thuc: Your practice revolves around sound at a symbolic level, tackling the concept of borders and lines, both literally and metaphorically. Was that a clear direction that you defined at an early stage? Samson Young: The trajectory is rather like this: I started with narrow things that dealt with the cultural politics of my classical music and my identity, and this led to issues such as borders, lines of control and national territories. Then, from the Liquid Borders project on, I began to realise that the issue was not only about lines of control but rather about how people coexist and how this coexistence involves …