Sound invades all – yes, sound invades architecture, spaces, rooms, houses; objects, materials, surfaces; cells, bodies, muscles, flesh; minds and thoughts, our spirits, our soul. Sound invades our ears, our skin, our feelings, our emotions. The best is, it is a language not based on logic and words. That is why we can enjoy even a song of which we do not understand a word because it is not sung in our language. Sound evades and invades, it oscillates. It is always in-between, oscillating, pulsating, swinging, vibrating. Even a word is not only the sound itself but also the meaning attached. Language oscillates between sound and meaning. Sound is like a ghost: it passes through closed windows or doors sometimes. Sound is medication, changing your mood in a moment. Sound is a warning, a prediction, a state. It is reality and imagination. The borders of sound are hard to draw. Its shape can be hard or soft, wide or narrow. But sound has a body, becomes a body, changes to another body, conquers your body or rearranges your flesh and muscles. Sound infects you, reflects, inspects, asks, exteriorizes your inside. It connects you to space in a different way.
ABOUT SOUND INSTALLATIONS:
Thinking about my artistic practice, I discovered two types of installations, which are: deepsound or surfacesound installations. These originate from my artistic practice of experimentation with sound in two different ways. Surfacesounds are the sonic phenomena that occur when materials are played and excited through vibration, their surfaces and hollow spaces being activated, while deepsounds refer to sound that conquers the architectonic space or an open environment, entering in a symbiotic relation with its surrounding, being less object attached. Surfacesound are sculptural installations. Deepsound relates to site-specific works where the site becomes an important part of the work itself. The body of the spectator and his physical movement remain very important in both types of installations, where new sonic places are discovered through motion. Surfacesound installations form sound orchestras of objects which act as instruments, in deepsound installations the architectural site is played, becoming an instrument itself. There could be a third type of sonic interventions in the public space, characterized by the uncertainty of events of a work that is less object or architecture related, becoming performatic in the sense of belonging and being exposed to a public body with its own dynamics and tensions. The urban space is a fluid and constantly changing environment, a flexible place where the public body intervenes unforeseen.
There are furthermore reflections on sound which do not use any physical emission of sound waves, but trigger imaginative hearing or come to symbolize a concept without actually utilizing sound. I am not sure if soundless works would be an appropriate title, as any sound imagined or surpassing our hearing limits, does not imply that this sound does not exist. Even a thought or the imagination perceived as an oscillation in time could have a minimal physical effect on a microscopical scale.
In my installations, I want to create the possibility to experience space in a timeless manner. To draw a parallel to painting, I would describe my work as connected to abstract expressionism. I am interested in the spatial exploration through movement, sound, and light. The body becomes a tool which shapes our aesthetic experience. I often try to create works choosing interesting architectural spaces or arranging the space itself, creating the necessity of moving around to explore the piece. The sound and hearing change at every position in space. I am interested in reconnecting us to our bodies through abstract aesthetic experiences, here through sensory perception and the need to move around. Sometimes I myself am in motion as a performer, emitting the sounds from a body in transit. Spaces with character interest me the most, more than white cubes. Maybe it is not only about regaining the full connection to our bodies, but also about our relation as an organic entity to the built architectonic environment, the urban space and everything around us. Maybe they act as organs which we circulate. We and spaces are in a symbiotic interdependent relation. The built environment has not to be experienced as a static thing, as it evolves with our use of and relation to it. We create space as we interact with their physical form, constructions are never a closed finished thing. Our constructed reality has the potential to evolve in different directions and is constantly built and rebuilt by our interaction with it. On a more sculptural level, I am interested to explore the sounds of objects, surfaces, and materials which act as filters or sound themselves. Things and architecture become instruments and our bodies part of this orchestra of sonic happenings.