Between Copper and Zinc
How would it be to stand inside a chord?
As an artist I try to increase the value of the everyday. Every moment of the day I try to be on, open to discover new things: cycling over a newly paved sett road, a coffee cup falling from the stairs of a railway station, a large truck crossing over an arched bridge. I collect my finds, after which a phase of experimentation begins. I attach a chain of stones to a motor, wither towers of moving boxes with a water sprayer, smack bricks against the floor with the help of an upside- down hanging massage chair.
I try to illuminate the small sounds and phenomena around us through my work. A person that whispers is better to be understood than someone that screams. By letting the work whisper, I engage the visitor; they must actively participate in order to experience the work. Based on this active participation, I want visitors to discover the work. The story of my work is created from the experience of the visitor. As an artist I ask myself: How do I bring the small phenomenon to the public, the impact of a single drop of water to that of a cannonball?
Small sounds can be experienced as grant gestures, but also easily overwhelmed. Therefore I see it as a necessity to tune all elements of a work to the sound experience. In addition to the senses, associations, the environment, the performers, and other visitors, the visitor themself is also part of the sound experience. In order to include these elements in my work, I have developed a holistic approach to create sound experiences: SISE, Structural Immersive Sound Experience. An object or phenomenon is approached from its role as a bringer of sound. From there, through research and experimentation, a new language is built around the properties of the object. Everything is in service of the sound experience.
Thanks to Makers subsidie Delft, Overtoon, Stroom Den Haag, Crossing Parallels