psychological as well as his social, cultural, intellectual and conceptual world. From my perspective, the moment where the viewer identifies with my work, the moment where my work can affect him and resonant on his own personal experiences, is a critical and cathartic moment. From February till May 2017 I will show at "Basis Gallery", Israel, a new solo exhibition. I have been working on the exhibition “Green on the Outside Red on the Inside” for the past three years. The three main objects at the exhibition are: an extremely large landscape of European forest constructed from thousands of suction cups filled with paint, a floor sculpture made of tens of plaster cast deflated and painted watermelons, a kind of Israeli take-off on the Halloween pumpkin heads, and an additional landscape work made of hundreds of tree air fresheners which will infuse the gallery space with artificial fragrance. In addition, I patiently anticipate the realization of two large installations made with nylon threads, optic fibers and lighting, which are a continuation of my former exhibition ‘Light Construction’. I have yet to find the proper exhibition space that could accommodate these ambitious projects. Tal Amitai-Lavi Land scape CONTEMPORARY ART REVIEW An interview by , curator and , curator
, 2015 Three channel projection, Stereo speaker
I am from computer engineering background, it gave me a good foundation in using technological materials. My works are also very related with digitalization and technological art. It must be said Taiwan's culture deeply influenced my creation although I am used to use a smart-hidden way to package it and cover it well. People would not notice it at very first sight. For example, in my work "Electric Position", the main concept is from electric fly swatter and mosquitoes. These two elements are mostly existed in low latitude country and lived in torrid zone; in "Regeneration movement", there are many CD-ROM drivers which generated by Taiwan in the past 10 years. I tried to discuss issues of globalization and how technology bring to our daily life in using taiwanese point of view. First of all, thanks for the compliment. I am for sure to focus on the uniqueness of combination between formality and concept. It is very important for me. In my work, the audience participation is essential. There are less interaction with the audience in the An interview by , curator and , curator ien-Cheng Wang Land scape CONTEMPORARY ART REVIEW L Lives and works in Dallas, USA
, 2008 Refit electric shock, Refit electric mosquito zapper, Relay, Ultrasonic sensor Land scape Maya Gelfman CONTEMPORARY ART REVIEW
traditional arts whereas I use modern technology to express my artistic concept. The inspiration came from one day, my desktop CD-ROM drive was ejected and restored automatically without any warning. In such an orderly world we live, it is as if a tiny abnormal matter that could trigger a chain reaction, where things would turn strange one by one. I found this abnormality is interesting and wanted to enlarge it to a wall landscape. In the process of collecting scraped CD-ROM drives, which was relatively accessible for me because Taiwan is an electric products kingdom where numerous IT products manufactured and discarded every day, I realized those products I collected were still usable. We throw them away because new models comes to replace. Therefore, I started to build this work and made scraped CD-ROMs brought them back to live. No, I don’t think so. I consider personal experiences produce the process of creation. If a person has no experience of life, he/she cannot connect to any creation. If I would not Lien-Cheng Wang Land scape CONTEMPORARY ART REVIEW
live in Taiwan, I could not create works such as ”Regeneration movement", and "Parallel Cities” etc. Since the computer was invented, more and more digitalization came into our life as well as into art industry. People use technology to help their creation. For instance, nowadays we can use projector as assistant to complete the large mural. I consider art and technology will NOT combine to assimilate one. But I think the direction of both will become the process of approach as close as possible. It just like digital and life, they are two different words. In my point of view, contemporary art is like a transition hub (like train station and airport), an interface of communication and exchange, strings different location, race, occupation and generation etc. and put them into conversation. Interactive art uses the method of technology to reduce the threshold and distance between audience and the artwork. Land scape Maya Gelfman CONTEMPORARY ART REVIEW
, 2014 Laser, Diffractive optical element, Magnifier, Mirror, Metal structure Lien-Cheng Wang Land scape CONTEMPORARY ART REVIEW
Land scape Maya Gelfman CONTEMPORARY ART REVIEW
I think display art in public space is very essential because it represents a process of communication with the people. As I mentioned before, immersive way is a form of communication. The improvisation in my performance is very critical, it reflects a direct relationship with the audience, make audience easy accessible. "Wave Phenomena" discusses a relationship between light, time and wave. It is a site specific artwork because there was a transparent celling at exhibition space. Natural sunlight shine through the space and through the installation. When audiences walk in the installation, the floor switch is sensed and installation be activated. The material "smart films" becomes transparent, people would feel like walk under the water, the ripples from light would spill from above. I expect the viewers to feel nature, technology and aesthetic unify in this installation. Lien-Cheng Wang Land scape CONTEMPORARY ART REVIEW
Acceptance of the audience is important for me, but not the most. It’s due to I think that contemporary art often has a problem and people usually tell me: they do not understand. I intend to break this line, then establish a bridge of communication with the audience. I use Mandarin and English to express my concept, never less to say, computer language as well. 2014, Cold Cathode Fluorescent Lamp, Smart Film, Stereo sound, single-frequency projection, New Land scape Maya Gelfman CONTEMPORARY ART REVIEW
I am currently developing a work called "Reading Project.” It is about 23 automatic machines which are flipping book. The average student number of primary school class in Taiwan is 23. The work will play out the voice reading the book from primary school's students, and discuss cybernetics, education, and the history of Taiwan. Media Art Lien-Cheng Wang Land scape CONTEMPORARY ART REVIEW An interview by , curator and , curator
worked in different participatory projects and countries as contemporary multidisciplinary artist to research with experimental materials like blood, inner tubes and chains, to find new borders between fashion design, art, ephemeral concepts and space, getting a better comprehension of fashion and art as communication concept and I found a new visual language for me. Since my studies at Istanbul I'm working between two countries and I've got inspired by both worlds to forge a unique connection between apparently contrary features of Turkish and German culture. The dissolution of boundaries, the fusion of both concepts is at the core of my works. This allows glimpses at a union of opposites. The pieces references duality concepts, combining masculine and feminine elements. Textile structures play with borders and opposites, combining art and design. Embedded in space, the disciplines flow into each other and I like if shape, texture and the materials or structures create an expression in space. For me it's relevant to see the impact of a body in a space. Be aware of textiles as a second skin and the combination of both to create a fugacious sculpture. When can you perceive the body in combination with textiles as a sculpture and where is the border? Has the body to be complete, or is a head enough for an artistic reflection? I follow those and more questions in my installations and concepts to reach a new reference between design, art and contemporary visual language in fashion. For this purpose I use textile materials and ephemeral concepts as a base for a bodily transformation and searching for new connections between the disciplines and the space. An artist's statement y work researches boundaries between fashion, art and Msociety. In the last years I Gerd G.M. Brockmann 22 LandEscape CONTEMPORARY ART REVIEW Gerd G.M. Brockmann Lives and works in Freiburg, Germany
LandEscape CONTEMPORARY ART REVIEW 22 HERE`S STILL LIGHT Photographer: FM BECKER Fotografie FL/Germany /Wood Concept Design & Craft by Korbinian Petzinger
Gerd Brockmann accomplish the difficult task to capture the essence of human experience and immediately conveying it into though-provoking installations: far from being an end in itself, the captivating sociopolitical criticism that marks out many of his cretions, as the interesting Here's still Light, that we'll be discussing in the following pages, urge us to question the reductionist tendencies that pervades Western culture, highlighting paradoxical situations od modernity and always showing us unexpected but ubiquitous points of convergence, in which the viewers are urged to explore the unstability of contemporary age: we are very pleased to introduce our readers to Brockmann's multifaceted artistic production. Hello Gerd and a warm welcome to LandEscape: to start this interview I would pose you some qustions about your background. You have a solid formal training and you after earning your Bachelor of Arts in Fine Art & visual Media, you eventually refined your education with a Master of Fine Art & visual Media, with a major on Textile & Fashion, that you received from the Flensburg University. Among the remarkable experience you did over these years, I think that your Erasmus year at the Mimar Sinan Fine Arts University in Istanbul has to be mentioned as well: how have these experiences influenced your evolution as an artist? And in particular, do you think that being exposed to a wide, international scene may have informed the way you conceive and produce your works today? Hello LandEscape and thank you for the Invitation. Yes, my Studies at the University of Flensburg gave me some basics about the combination of textile, art and visual media concepts and I learned to use my experiences from the early years. In the 90´s I finished an apprenticeship in an old tradition house (since 1899), near Hamburg and I learned a lot of things about fabrics, garment, sewing and all that stuff in a really “old-school” way. It was the intense beginning of my new work periods. Between ephemeral works, the body as media, textiles as second skin, nature and environment as artistic space. I was able to use my “old-school” experience as well as my science from the university basics at Flensburg´s art and textile departments, to create new works and my new research projects became a short time later reality. In the same year I realized a small project at Istanbul, after I meet the members of a small independent art space at the Contemporary Istanbul Fair while showing my portfolio to the galleries. And step by step my works got an international touch and I started to work between both countries and I love the cultural exchange, the idea to develop a new visual language for me that includes both cultures. The hallmark of your approach is a multidisciplinary symbiosys between several visual viewpoints, that you wisely Gerd G.M. Brockmann An interview by Josh Ryder, curator and Barbara Scott, curator [email protected] 22 LandEscape Gerd G.M. Brockmann CONTEMPORARY ART REVIEW LandEscape meets
condens into a coherent unity, providing a dynamic life to your pieces: before starting to elaborate about your works, I would suggest to our readers to visitI http://artprojectbrockmann.com in order to get a wider idea of your multifaceted artistic production. Have you ever happened to realize that a symbiosis between different disciplines is the only way to achieve some results, to express the concepts you convey in your works? In the contemporary art world of the modern era it is essential to enter into a symbiotic relationship with other disciplines to develop yourself as an artist and to create a new visual language. Through the networked world of fine arts mutated into a global activity and in this age of globalization it is essential to get new realms by fusing art, fashion, photography, design and craft, to create new perceptions for the observer. My work is characterized as a new form of public in art and at the same department it offers an insight into the geopolitics of the art system of the 21st century. To survive in today's art market, it is necessary to develop critical tools to allow the viewer a glimpse behind the curtain. The multidisciplinary symbiosis as you call it allows me to develop a broad-based oeuvre as an artist and is actually the only way some of my concepts had been realized. For Example, THE SUPLENESS PUCK´S… The artwork to us viewers, is a different experience to my interaction with the work - the artwork itself is performative - it is not really a photograph, nor is it really a sculpture. It is an action, and it is an encounter between two people; one a viewer, and one the performer who is wearing the costume, their body moving slightly with each breath, and shreds of fabric moving with a small breeze. This is such a harmonious amalgamation of costume becoming installation; installation becoming performance; performance becoming 22 LandEscape Gerd G.M. Brockmann CONTEMPORARY ART REVIEW
22 Gerd G.M. Brockmann LandEscape CONTEMPORARY ART REVIEW
22 LandEscape Gerd G.M. Brockmann CONTEMPORARY ART REVIEW HERE`S STILL LIGHT Detail Photographer: FM BECKER Fotografie FL/Germany
sculpture; sculpture becoming a photograph; photograph entering the online sphere. With elements of identity removed; masked faces and wrapped figures, my work seems to have created a repeated motif - a human captured in time and captured (encased, even) within various mediums. It is a tension which exists in the work, and in the characteristics of the mediums used. I would start to focus on your artistic production beginning from "Here's still Light", an extremely interesting body of works that I have to admit is one of my favourite project of yours. I like the way your careful exploration offers a rigorous but at the same time lively visual translation of the issues that affect contemporary societies: far from being an end in itself, this work reveals the importance of the ongoing social process that leads its creation, and that it's intrinsically connected to the chance of creating an area of intense interplay with the viewers. While conceiving Art could be considered a purely abstract activity, there is always a way of giving it a permanence that goes beyond the ephemeral nature of the concepts you capture. So I would take this occasion to ask you if in your opinion personal experience is an absolutely indespensable part of a creative process... Do you think that a creative process could be disconnected from direct experience? I believe that one's personal experience accounts for a huge part of any of my works and the mentioned “Here’s Still Light” concept merges to this experience with the experience of all 20 team members to become a great social sculpture. A separation of the creative process of one's own experience, I think indeed possible, for me however, not desirable. In today's society it´s in my opinion very important that new experience spaces and projects for 22 Gerd G.M. Brockmann LandEscape CONTEMPORARY ART REVIEW
KING NOTHING Concept by YILMAZTÜRK&BROCKMANN FASHION DESIGN Draping/Photographer: Nejla Yilmaztürk
Univocal reference, 38x42, 2010 underestimating groups exists and that we learn to provide and handle socially disadvantaged, to bring them into contact with art and to experience what we can learn from each other. Would I disconnect all from each other, I would deprive myself of my own feelings and the transience, the social or creativity would no longer reach me and I would be separated from the social relevance of my work and would be immune to any resonance. When I was preparing myself for this interview I have got to know that the term social exclusion first originated here in Europe, where we experienced a considerable emphasis on spatial exclusion, that sometimes resembles to a 22 LandEscape Gerd G.M. Brockmann CONTEMPORARY ART REVIEW ONE MOMENT YELLOW SILENCE FASHION DESIGN Draping/Photographer: Nejla Yilmaztürk & Aykut Yilmaztürk
form of confinement. The nature of your insightful investigation about marginalization of the elderly people from public sphere reveals an admirable sociopolitical criticism: I have appreciated the way you do not just restrict your analysis to a mere reportage of the situation, but you stimulate us to react to this loss of potential concerning not only wisdom but also talents that need a whole life to be improved... Although I'm aware that the following assumption might sound a bit naive, I'm convinced that nowadays Art can play an active role not only in exposing and interpreting sociopolitical issues, but also and especially to offer us an unexpected way to solve them... what's your point about this? And in 22 Gerd G.M. Brockmann LandEscape CONTEMPORARY ART REVIEW
particular, how can an artist give a move to the contemporary unstabile society? In my opinion spatial and social exclusion are only a small part of an ever-accelerating society. We all develop different mechanisms to this new society order to come to the company and manage the age affects us all. In my time the immortal youth in which I found myself up to my twenties I have recognized this instability of society and was helpless at that time and I could do nothing about it. With the maturity of years and the courage to address people if they would work with me on something together I brought this process in motion. It was possible to actively involve art into sociopolitical criticism. The interactive and participatory has long been a part of the art market ... but this “Here´s Still Light” concept is now to be filled with socio-critical content and to find a platform for this artistic social process was the challenge for me. I was very happy to found my team after a two years research and set it up at the Nexus Gallery in Denmark to give this work the worthy setting. Who will assume responsibility for new and innovative ideas in the world of social exclusion ... unless we artists? How can an artist change something in the modern unstable society? I guess, with new and surprising ideas and the hope to change something, and if it happens only in small… it's a start! There is a very special synthesis between me and my partner and very talented Fashion Designer Nejla Yilmaztürk. The YILMAZTÜRK & BROCKMANN Concept was born in January 2012. After the work for a Gallery in Istanbul, we decided to work as an artist couple between the border of Fashion Design and Fine Art Concepts. And I couldn't do without mentioning "Ego Has Fallen", that has provided me of the 22 LandEscape Gerd G.M. Brockmann CONTEMPORARY ART REVIEW
22 Gerd G.M. Brockmann LandEscape CONTEMPORARY ART REVIEW EGO HAS FALLEN Pic by Artist
22 LandEscape Gerd G.M. Brockmann CONTEMPORARY ART REVIEW GRAND ELIXIR SECRET OF SECRETS…THE URBAN ALCHEMY - Pic by Artist / Model: Korbinian Petzinger
22 Gerd G.M. Brockmann LandEscape CONTEMPORARY ART REVIEW same sensation I received the first time I had the chance to get to know Boltanski's Exit. Although each of your projects has an autonomous life, there's always seem to be such a channel of communication between your works, that springs from the way you juxtapose ideas and media: as Thomas Demand once said, "nowadays art can no longer rely much on symbolic strategies and has to probe psychological narrative elements within the medium instead". What's your point about this? EGO HAS FALLEN has certainly parallels to Boltanski's work “Exit” to pull, since this dimly the likeness of a human being gives and gets a mood of melancholy forth the leaves appear the presence of the past as irretrievably past. The memory work thus becomes a part of the work. This work contributes similar Boltanski's “Exit” not only a media criticism in itself but also an institutional critique that affects society as a whole. In my decision-making process of the artistic work and the implementation of ideas, this only partially plays a role. I think about it if I move into a different cultural process, working with a new group, or as usually, if I work between two cultures. Then I try to do research with great respect and it makes me aware of during the process as the context that could affect the visual language to the viewer. The process with my HOMECREW..Like, I call my team of the Here's Still Light project, was like that and that’s why it took two years to complete. Working with the elderly women from the Danish and German culture in considering the old war history required a cautious approach and found expression in the work "War is over".
Claire Williams lives and works in ,
Sound Embroidery
I started a few years ago to get involved in the D.I.Y, open source mouvement, mostly known in computer software and electronics. A totally new field of work and methodology was opening up to me especially coming from a textile background. I actually came to it when i was confronted to the 1980 domestic electronic knitting machines that were easily available but very limited in memory and size to knit out patterns, especially the ones i was working on which were not traditional patterns but very big images. So i was trying to find a cheap solution to this problem and discovered that other people where trying to find a way to hack these knitting machines to get them connected to a modern computer. Thankfully the documentation came along with an open source copyright and people were sharing their expertise and tests allowing anybody to reuse or modify them freely. I found the idea very interesting and it pushed me to create my own tools and share them. The challenge was not only to use or create electronic and digital tools under an open source copyright but also to try to apply this idea in my artwork and “physical” textile prototypes. This implied a new kind of methodology such as documentation to allow anybody interested to get access to the process of work. At the same time i started working with electronic textiles, there was no training or classes existing in nearby schools so i had to find workshops to get, with help of Internet documentation, some physical teaching. This was actually the case of a lot of the Claire Williams An interview by , curator and , curator Land scape CONTEMPORARY ART REVIEW LandEscape meets
Christopher Reid Land scape CONTEMPORARY ART REVIEW
Land scape Claire Williams CONTEMPORARY ART REVIEW Antennas
Claire Williams Land scape CONTEMPORARY ART REVIEW patricians in the e-textile field so the only way to be able to learn was to share our own experiences and documentation. This got me giving workshops with the hacked knitting machines and electronic textiles to beginners or more advanced practicans. I would say that my cultural substratum is as important as my super stratum as i tend to give the process and the construction of a project the same visibility as the finalized artwork, showing the skeletons and constructions of the project as well as the collaborative and contributions of others. What interests me is the links of (pre)existing relationships that lay in the merge of science, technology, art, sound and textiles. All of these domains have specific rules and come with opposite or different matter (virtual, invisible, tactile etc..) My multidisciplinary approach is necessary to be able to play around with the different constraints, grids and rules but also to be able to integrate them and use them in different ways from what they are initially meant for. Indeed, here the idea isn't to show a technical achievement but to reveal the poetic side of simple physical principals using familiar mediums such as textiles or creating electronics with accessible components. The Antennas project was inspired by the Shipibo Conobo tribe living in the Amazon forest. They have a very marked style of embroidery patterns made with geometrical figures. The Shipibo women who simultaneously sing an Icaro chant will each embroider a pattern. Without having a model or looking at the neighbors design, they have the exact same pattern in result. It seems that they have a way of encoding sound into their patterns that correspond to specific musical rules of the Shipibo culture. The Shaman then wears the embroidered textiles and follows the pattern composition and structure to sing a healing ritual. I found very inspiring the way the Shipibo can translate a sound and encode it into a pattern musical score but also how a textile could become a sort of gate, translating invisible data. I saw these embroidery patterns like some sort of antennas that could receive and transmit a signal by their pattern and structure. Here the antennas are made using traditional textile techniques. Their different shapes using knitting or weaving techniques create for each model a specific type of antenna. These antennas can capture the electromagnetic activity of a space. You have to imagine that a lot of different waves that are part of the electromagnetic spectrum are crossing us everywhere at any moment for example wifi, radio etc.. waves are constantly
sending signals. They are otherwise invisible and inaudible to the human ear. In the Antennas project i created textile antennas that could receive very low frequency's (50 Hz) which is the type of waves that emanate mainly from electricity, motors, neon tubes etc... or even the earth natural magnetosphere. You can even also sometimes pick up a local Am radio station passing by... So all this dense sound scape is suddenly audible to the spectator, making the textile Antennas a sort of filter of this surrounding data. A custom electronic amplifier translates the signal the antenna receives and transforms it into an audible sound, proposing an immersive sound experience to the public. The electronic principals used in these Antennas are very low tech, inspired by 1920's radio communication where very few electronic elements were needed to receive a radio signal. A lot of my projects are inspired by ancient, tribal textile artefact's and very early electronics discoveries. They both have something very magical in their stories or in their inventions and were made with very simple tools. Although today we have very complex technologies surrounding us, i still find it amazing an inspiring how these ancient technologies were invented or discovered at the time. It is also much more easy to reproduce using elements“things found in your kitchen“. → my blog link https://xxxclairewilliamsxxx.wordpress.com/ for more lecture on my research studies. One exhibition i did with An Electromagnetic Walk was taking place in a window that was on a busy street. Here people were invited Land scape Claire Williams CONTEMPORARY ART REVIEW Antennas
to borrow the Antennas and have a walk with them on the street. What is interesting with An Electromagnetic Walk is the idea that the spectator becomes a mobile antenna. He becomes his own chief and can explore the electromagnetic activity of the street creating his own composition and experience going from a private to a public space. The street becomes a vast field of exploration creating an improvised itinerary Claire Williams Land scape CONTEMPORARY ART REVIEW
Antennas
carried by the wearers curiosity, being lead by different electromagnetic sources. The second layer to the project is that, being a mobile antenna gets the spectator to be in a somewhat odd position trying sometimes to reach out to difficult areas driven by the will to see which source certain electromagnetic frequency's create a curious sound. When you are out in the street waving your strange objects around you do look like if you were searching for some kind of mysterious energy for the people outside. The interaction lies between the people who are carrying the antennas with the people in the street as they very often come and ask what we are doing. Sometimes without any explanation, or without listening, they surprisingly have already a very defined idea of what we are doing: looking for ghosts, aliens or mysterious magic magnetic energy's and forces...etc. The sounds we can hear throughout the antennas or the strange equipment shows all the collective imagination of people and creates vivid discussions where people from the street participate to the project. In this case we can see that the public sphere naturally mixes with the art sphere creating some kind of social sculpture. The borders between different disciplines tend indeed to get more and more blurry. We can also add to that the border between minor and major art, crafts and technology are blending more with one another. Technology is for sure everywhere in our life so it is becoming more of a recurrent subject in arts questioning our intimate and public relationship we have with it. But we can also observe how digital and electronic tools are getting more and more accessible or tailored for artists who don't necessary have a scientific background. Indeed it is much cheaper today to build a sensor for example and much easier to integrate code to build a specific software for an interactive installation. Adding to that the makers movement has been also amplified by the growing access to Internet to learn by yourself or exchange on how to use these tools. I would guess that in a mere future it will be more and more common to have technology integrated in art works as a tool or medium being at the same place as photography, sound or video for example. Data Knits is a continual serie of research where i try to store data in a textile surface. Since i use digital tools and translations to generate and visualize data, mostly through the use of patterns, i am always confronted to the notion of scale. Indeed, scaling digital bytes of information back into a textile means that on one hand you have a huge amount of information to process as you can easily render pictures and patterns with a computer. On the other hand i have semi industrial ways of producing my Data Knits using my hacked knitting machine which means a very low resolution of information compared with today's Claire Williams Land scape CONTEMPORARY ART REVIEW
storage capability's. An insignificant portion of content can be materialized into threads. For example my knitting machine has 200 pixels of maximum width and the hight is “infinite”. Translating and getting interesting textile results is time demanding so i can't materialize and memorize every sort of data i want to either. This forces me to think of what specific information i want to archive through a textile medium. For example i recorded the electromagnetic activity of specific locations, each knit has coordinates indicating the precise place where the electromagnetic sound was recorded. In general each knit corresponds to 3 or 4 min of sound which is also totally insignificant to the electromagnetic activity of the place. Materializing such information into a sort of archaeological artefact's reminds us of what we want to leave behind or save. What we want to memorize or lose from our world and our personal trace of our time living on it. Traces of data can be found everywhere in nature, a skin cell with your A.D.N, the age of a log of wood in his rings, the traces of wind on sand etc..of course natures way to embed memory is infinity more precise and subtle in comparison to man made devices that stock an infinitely small portion of artificial data in comparison. In An Electromagnetic Walk I try to give the spectators an experience of their Land scape Claire Williams CONTEMPORARY ART REVIEW
Claire Williams Land scape CONTEMPORARY ART REVIEW An electromagnetic walk
Land scape Claire Williams CONTEMPORARY ART REVIEW https://we.tl/LRtkZLDlWU
amplified environment, filtering and making palpable or audible on part of the electromagnetic spectrum that is otherwise inaudible to us. Each frequency contains all sorts of data, the most recognizable is for example a radio frequency. As an artist i try to give the spectator a sensitive experience of our world by working on things that are familiar to us, collected from an everyday environment yet they have different layers that can each be treated, interpreted and looked at in very different ways. Here i choose to investigate the inaudible and invisible layers of our environment by using very material objects to get a sample. We can decipher these frequency's using electronics which will filter and amplify these waves so that as humans we can hear a portion of them but in An Electromagnetic Walk their is also an important part that is also fictionalized by the participant, using the natural human capacity of creating how own reality and interpretation. As an artist i recall to scientific tools used to probe man made environments but i am also interested on how we can also use the natures data to create specific tools after it. For example i started experiencing with antennas that can receive VLF, also described as the earth natural radio. Indeed these electromagnetic waves are naturally made by the earths activity You can hear storms that are 1000 km away, aurora borealis etc.. that are described as spherics, whistlers, tweaks, crackles sounds. It is always an amazing moment when you hear the activity of the earth, sources that can come from very distant places on earth. Claire Williams Land scape CONTEMPORARY ART REVIEW
Indeed a medium and it's construction can be a way of exploring our realities. For example the antennas are made by knitting fine copper wire in a certain way that i can reproduce the physical principals of a classic antenna. Here the textile medium in it's construction and material transforms the object into a functioning system: the antenna will intercept a wave and transform it into an electrical signal. This signal is then amplified by an electronic circuit and translated as is into a sound. Here each intricate knit, tension and shape of the final object will determine what the antenna will receive. Every antenna is unique because of it's shape and medium and give us different results. When i was experimenting with these different parameters i also made choices in order to construct a certain sound scape and how the antennas would amplify our relationship to reality. Even using scientific tools, it is always a certain perception or translation of reality that we create either for artists or scientific. But at the end of my experiments, it was on the contrary more the type of electromagnetic frequencies and electronic disturbances that i had encountered that actually created and influenced the very specific shapes that were created for the antennas. No i don't think it is indispensable, i also believe that being just an observer, exterior to a direct experience is also an important place to have in a creative process. I think that we should always experiment with these different scenographys because it can also Land scape Claire Williams CONTEMPORARY ART REVIEW
Claire Williams Land scape CONTEMPORARY ART REVIEW https://we.tl/LRtkZLDlWU
scape Claire Williams CONTEMPORARY ART REVIEW Land Data Knits