What I do in one sentence: i transform sonic impressions into 3 dimensional arrangements.
Why I didn’t get a proper job: after school i tried to become a typescript editor/layouter… but it was the time when dtp came up and classical layouters where not needed anymore… so i got 52 rejections and decided to study graphic design… randomly i started at one of two universities in germany which had sound art… and as i was mostly interested in experimental music, i changed from visual communication to sound art soon… now my “proper job” is to be a sound artist.
An artwork I dream of and I would get accomplished if space, time and money were abundant: first i would like to produce a dynamic visual arrangement with good sounding materials… prepared to inspire and get used… then i would perform with these materials: produce sounds with them, smash them, throw them, deform them… perform them… this “performance” should be documented with 3d camera scans… afterwards i would like to compose 3d prints of all the materials getting transformed at once… as every moment of the performance (visually and time-wise) would be frozen and everything is shown at the same time… for example… i would take a bottle of water… pour it first in a glass and then on the floor and at the end throw the empty bottle on the wall… where it smashes… and so in the installation you would see the water coming out of the bottle in a beam from the bottle to the ground… drippings and the movements of the drips… the puddle… the filled glass… the way the bottle flies and all the splinters flying in the room… i would “compose” the prints, so that not all moments are kept… for dynamically reasons… but the result would be a big chaos… a space filled with something like a 3d score of the performance… and for me, these castings are like artifacts of the sound, like recordings… and could trigger imaginations of the sounds without any sonic event! like a drawing, musical graphic or score… that would be great…
Artists, I have on my watch list (and why): inken reinert, i love her inspiring structures, which have a strong sonic impact. julie mehretu for her complexity and dynamics. rolf julius, i like his poetic and circumspect way of arranging fragile and tiny things. andea ermke is brilliant in building up very diverse and complex layers of concrete sounds… perfect. mario de vega, i love how he creates highly physical and psychic impacts with imaginations and fakes. and of course a lot more…
I am afraid of loosing my ability to hear.
How I want to be buried resp. words I want to be written on my tombstone: i want to be burned… just a casket… but maybe “all music has come to an end”.
My studio is my hidden lodge.
What I do in one sentence: i transform sonic impressions into 3 dimensional arrangements.
Why I didn’t get a proper job: after school i tried to become a typescript editor/layouter… but it was the time when dtp came up and classical layouters where not needed anymore… so i got 52 rejections and decided to study graphic design… randomly i started at one of two universities in germany which had sound art… and as i was mostly interested in experimental music, i changed from visual communication to sound art soon… now my “proper job” is to be a sound artist.
An artwork I dream of and I would get accomplished if space, time and money were abundant: first i would like to produce a dynamic visual arrangement with good sounding materials… prepared to inspire and get used… then i would perform with these materials: produce sounds with them, smash them, throw them, deform them… perform them… this “performance” should be documented with 3d camera scans… afterwards i would like to compose 3d prints of all the materials getting transformed at once… as every moment of the performance (visually and time-wise) would be frozen and everything is shown at the same time… for example… i would take a bottle of water… pour it first in a glass and then on the floor and at the end throw the empty bottle on the wall… where it smashes… and so in the installation you would see the water coming out of the bottle in a beam from the bottle to the ground… drippings and the movements of the drips… the puddle… the filled glass… the way the bottle flies and all the splinters flying in the room… i would “compose” the prints, so that not all moments are kept… for dynamically reasons… but the result would be a big chaos… a space filled with something like a 3d score of the performance… and for me, these castings are like artifacts of the sound, like recordings… and could trigger imaginations of the sounds without any sonic event! like a drawing, musical graphic or score… that would be great…
Artists, I have on my watch list (and why): inken reinert, i love her inspiring structures, which have a strong sonic impact. julie mehretu for her complexity and dynamics. rolf julius, i like his poetic and circumspect way of arranging fragile and tiny things. andea ermke is brilliant in building up very diverse and complex layers of concrete sounds… perfect. mario de vega, i love how he creates highly physical and psychic impacts with imaginations and fakes. and of course a lot more…
I am afraid of loosing my ability to hear.
How I want to be buried resp. words I want to be written on my tombstone: i want to be burned… just a casket… but maybe “all music has come to an end”.