F1F#1 – The François Schneider immersive painting, 2017
Creating an over 10 meters long immersive project had been one of my dreams for years and it finally came true with the financial help of the François Schneider Foundation. It was one of the winning projects for a competition organised by the Foundation, Le Concours Kunstart.
The entire piece is composed of 10 different paintings that were created together to give the impression of a continuous flow of the paint. This one imitates the movement of the water, the vital liquid being the theme of the competition. It was created in the same style as my newest work, by bringing together sound frequencies, oil painting, water, and paper. The name of the work represents the two frequencies used during its creation.
While standing in front of it, the viewer is presented with a new universe within which sounds and colors work together into forming new abstract shapes. It proposes a fresh way of approaching the world we live in and a reconsideration of the possible connection between the human senses.
The White Cube Environment, 2016
This environment was one of the first proposals I developed at the beginning of my research. It visually presents the link between the natural musical scale, the reinterpretation of Sir Isaac Newton’s musical notes and the light frequencies’ association table. This table has been expanded to the full sound and light spectrums.
It is also a study on the human voice, more exactly voices’ tessituras. Human voices were divided into three categories based on an average frequency range: child (300-350Hz), woman (220-300Hz) and man (110-150Hz). I have made recordings of the sound frequencies within the precise ranges together with their correspondents in the light frequency spectrum (videos can be viewed in the video section under the name of the study).
Using superposed projections of the three videos, I’ve created a new harmonious environment inside a white cube of 300x300x300cm. Chance was also very present, each video having a different length. While playing in a loop, they can produce thousands of variation
I chose these ranges for my study because of our familiarity with these frequencies. The intention was to create an environment that would give a comfortable and harmonious experience, without subjecting the visitors to an ear-splitting encounter. In addition to the projection, the inside of the cube was covered in white canvas, acting as a pure white support for a painting made out of light.
Videos from the installation.
The Wall Resonance Environment, 2016
In 2016, I moved forward in my work to the harmony existing between the resonances of different materials and mediums. As part of one of my installations, I created a metal-bar sculpture that was put directly against a wall. Low frequencies, transmitted from a speaker through the wall, allowed me to discern a wall’s nodal pattern, which would create a resonance between the wall and sculpture. This in turn would make the metal bar vibrate, thus creating sound. This project did not merely focus on the generation of sound. It also allowed visitors to directly interact with the wall (by touching it for example), which would in turn influence the volume, sonic texture and the spatial location of the sound.
A later addition to the Environment was a piece composed of two photograms framed together. Despite their different origins, its role was to complete the first piece as its silently attached counterpart.
The Storytelling Environment, 2015
The Storytelling Environment tells one story and one story only: Luceafarul or The Evening Star. It is an old Romanian story in which Hyperion, the first star that appears on the horizon in the evening, falls in love with a human princess. Its most famous iteration is that written by Romania’s most distinguished poet, Mihai Eminescu and bears the same name. It is a romantic poem that tells the love story of two beings that belong to different worlds, who become more aware of this impediment with each chapter.
Creating a completely white non-abstract storyboard helped me play with the idea of letting the viewers also discover the work through a different sense: touching. The bas-relief added more texture, and therefore a stronger experience to the environment.