I’m an audiovisual artist and electronic music composer. My work revolves around the use of algorithms to expose the underlying processes of reality and its perception.
This is not a technical, but rather a poetic understanding of the world. The emergence of complexity, of beauty, of character as more than the sum of its parts is in my view essential to making and understanding art. Most practices apply this obliquely, I explicitely employ it in all aspects of my work.
As a simple example, the flocking of birds can be expressed through three basic rules. When each bird folows these rules, fascinating patterns emerge. Similar concepts can be applied to color, form, rhythm and so on.
Perception is the other element. I’ve made many immersive works, where the entanglement of sight and sound creates unique experiences. This has allowed me to develop a keen understanding of how people feel while exposed to the work. Many of these were impressive, awe inspiring works. This is something I am moving away from, I now prefer more intimate and personal approaches. This evolution has made me transition from collective creation to solo work.
It is through my site specific work that my practice got infused with architecture. Architecture is to me a language of space that seems to exist across culural boundaries. This spatial aspect is core to my work and functions as an axis in my imagination.
Coming from a musical background, the performative aspects of art are what attracts me the most. There is a directness, an honesty in the realtime realisation, a symbiosis between artist, space and public that particularly appeals to me in performance. I do however also use the form of installation, which I approach completely differently in terms of time and space, it essentially swaps the function of both. An installation is an expression of a non-linear nature and must be conceived as such.
As I work with cutting edge digital technology, my work can be classified as “digital arts” or “new media art”. I fully embrace technology not out of fetishism, but because it allows me to create in ways I could not without. Technology isn’t a mere tool in my work. It is the essence of my process, my means of expression. However, I strongly oppose most of the scene that lives under this umbrella. It has become a formulaic and stale production line, regurgitating the same aesthetics in an abstraction of minimal futuristic products. I believe, as do many, that it is time to move on to other themes and imagery, so as to not become outdated futurists. Reconnecting to art history and other art practices is crucial to this transition.