Sinfonías dibujadas
2021
Charcoal, black and gold graphite on paper
5/8
100cm x 70cm
In the series of charcoal, black graphite and gold drawings from the process of thinking [Sound Folies] through drawn symphonies, sounds captured by myself from remote locations and other sound clips provided by friends from faraway are translated without scale into two-dimensional cartographies, as if the blind attempt to trace distances and spatial relations across sound sources would bring me closer to the essence of what mattered to me. The loss of parameters in the translation process, bridging the gaps of various time capsules, enhances a surreal spatial experience that I made accessible in the [projection] space. The acoustic memory of some specific moments is „shaped“ in a more sided essayistic video piece: [Chirpings for FUGA 21] produced in stop-motion technique, which evokes the fragile human and natural ecosystems and is merging with other ideas that appeared to me as a non seen resemble of [chamber music] and emerges from these intimate encounters with what is heard.
In my second video essayistic piece [SINFONIAS DIBUJADAS] 2021, building upon these initial drawings, I delve into the realm of digital transformation using fundamental tools like rotation, translation, and mirroring. This exploration births a visual narrative that doesn’t sever ties with its original auditory source. Instead, it allows the drawings to journey through an unfamiliar melody, where I stumbled upon an enigmatic conduit for [synthetic] metamorphosis—a curious interplay between echoes of distant cricket and cicada frequencies and the nature of this music. The evolution of the drawings transcends traditional boundaries, embracing a multidimensional journey.
Inspired by nature and the versatile boundaries of geographies as music, this experimental video employs a sound track [Modul II] created by musician Mario Verandi with the iconic Buchla 100 series—a modular synthesizer hailing from the late 1960s, housed at the Ernst Krenek Forum in Krems, Austria—as a catalyst for fusion. While the essence of the drawings remains intact, the piece undergoes a profound transformation, modulating entirely new visual realities, exploring new realms of [expression : perception]
Expanded media:
(2018) Chirpings for FUGA 21. Stop motion video for projection
SLOW WAVE I / II WUK, IntAkt gallery
Press and Media among which:
arteinformado.com/agenda/slow-wave-II
Sinfonías dibujadas
2021
Charcoal, black and gold graphite on paper
5/8
100cm x 70cm
In the series of charcoal, black graphite and gold drawings from the process of thinking [Sound Folies] through drawn symphonies, sounds captured by myself from remote locations and other sound clips provided by friends from faraway are translated without scale into two-dimensional cartographies, as if the blind attempt to trace distances and spatial relations across sound sources would bring me closer to the essence of what mattered to me. The loss of parameters in the translation process, bridging the gaps of various time capsules, enhances a surreal spatial experience that I made accessible in the [projection] space. Th acoustic memory of some specific moments is „shaped“ in a more sided essayistic piece: [Chirpings for FUGA 21] produced in stop-motion technique, which evokes the fragile human and natural ecosystems and is merging with other ideas that appeared to me as a non seen resemble of [chamber music] and emerges from these intimate encounters with what is heard.
In my second video essayistic and experimental piece [SINFONIAS DIBUJADAS] 2021, building upon these initial drawings, I delve into the realm of digital transformation using fundamental tools like rotation, translation, and mirroring. This exploration births a visual narrative that doesn’t sever ties with its original auditory source. Instead, it allows the drawings to journey through an unfamiliar melody, where I stumbled upon an enigmatic conduit for [synthetic] metamorphosis—a curious interplay between echoes of distant cricket and cicada frequencies and the nature of this music. The evolution of the drawings transcends traditional boundaries, embracing a multidimensional journey.
Inspired by nature and the versatile boundaries of geographies as music, this experimental video employs a sound track [Modul II] created by musician Mario Verandi with the iconic Buchla 100 series—a modular synthesizer hailing from the late 1960s, housed at the Ernst Krenek Forum in Krems, Austria—as a catalyst for fusion. While the essence of the drawings remains intact, the piece undergoes a profound transformation, modulating entirely new visual realities, exploring new realms of [expression : perception]
Into ::: compositions alpha for the video [SINFONIAS DIBUJADAS] 2021