ARTIST'S STATEMENT

Examining the labyrinthine and developing worlds of electronic media is a point of departure for my investigations. I am interested in how language and sound correlate. Language belongs to the world as much as it transcends it. I believe sound is able to construct meaning beyond language. This has led me to explore the concept of a sonic language which connects to the ubiquitous concept of fragmentation. I hear organized sound (music), contextualized noise (language) as reflection upon living structures, the concept of time and the nature of communication.

My intent is to recontextualize sonic fragments in order to broaden the listener's perception of the world. My sound compositions are essentially made up of debris—a digital landscape of glitches, clicks and recognizable fragments (samples) reorganized into a form in which mistakes become aestheticized, no longer displaced pieces but fragments composed into artifice—a detritus of culture. The use of digital technology has had a great influence on the making of my work. The sound object is the consequence of experimenting with the medium: digital technology recontexualized. It is an act of imaginative “misuse” to investigate the medium, to extend its boundaries. The fragments indeed are remnants of musicality thus suggesting emotions, spaces, musical ideas.

Further, I am influenced by the writings of Gilles Deleuze and Felix Guattari. Their articulation of the rhizome and of becomings lead towards my sonic thinking. Especially the concept of the Body without Organs (BwO) hints at the essence of some of my earlier investigations into sound. In regard to my work, the BwO is a system composed of non-hierarchical structures of sound objects (sonic fragments). The sound object evolves into a becoming-time, a becoming-space and becoming-mood. The sound object reveals its essence in the consciousness of non-chronological time by revealing the world-as-it-is through becoming-instance. The moments of becomings are when time and percepts are compressed to bare essential: noise aligned to thought.

Words on collaboration.
I have been collaborating with artists from diverse disciplines: Film, Animation, Video and Installation—to name a a few for the sake of categorization. In particular in the case of the moving image, it is essential for me to find ways to develop a sound piece that correlates to the atmosphere of the content. The challenge in each project lies in the presumed conflict between image and sound. How to make the parts interrelate and yet create an antithesis. In fact in the work with other artists the idea of non-hierarchical structures is of essence.