1 – Can you introduce yourself as an artist, your artistic career and
approach in general?
I research at the truly cutting-edge vanguard of fine and electronic
arts and music. Drawing upon conceptual art, hacking and tactical
media, my work intentionally defies categorization.The areas of my
activity covering conceptual art, institutional criticism,
environmental arts, media arts, sound art and electronic music. I am
researching new methods and algorithms for non-standard sound and
image synthesis. I am focusing on building a model encompassing
methods of randomness, stochastic synthesis and the use of artificial
intelligence.
2 – Can you tell us about the project you are presenting at
Electropixel? How did your creation come about? The process, the
different steps, influences, failures, surprises and experiments.
I am working with ideas of RANDOMNESS, POTENTIALITY and INFINITY. I’m
presenting installation and action Quantum Random Generator. I reveal
the process of radioactive decay as the best and strongest
manifestation of the idea of randomness. Thorium is a medium of my
idea: I have chosen Thorium as radioactive material, which is the
source of fundamental random processes and is not associated with art.
Thorium is a source of dispersion and real disorder. The use of
Thorium is the use of raw material which is not subject to power of
will. The real performative element contained in the action reveals
pure process of decay and energy emission.
In the first stage I present radioactive material sealed within leaden
container. The observer has no access to processes occurring within
the container. A potential space emerges, consisting of particles that
remain in a superposition of numerous states. The particles do not
exist in any particular place, they exist in many places
simultaneously with a certain probability of occurrence. Without the
observer it is a superposition of states and therefore a pure
POTENTIAL, which encompasses many different setups, including many
past and future works of art and music compositions.
I am presenting also new composition C_INFINITY. It is an infinite
composition with open form which means that it cannot be enclosed in
one physical realization. I am pointing to the infinite number of
possible variations, formats and shapes. I am starting with few
initial sound units and their initial configuration (generators and
noncommutative transformations based on Clifford algebras), which can
subsequently be freely chosen and arranged; moreover they can be
played or not. Duration of the composition, sequence of units, sound
parameters, intervals and orders are changeable. I am using different
types of random generators to create initial units, next I shape the
form by controlling algebraic structure and probability distributions
of individual sound parameters.
3 – What does Powerhack mean to you? How does this concept relate to
your artistic approach?
First of all, if we think of art in terms of working with different
kinds of energies, powerhack is a way of breaking existing rules and a
transgression, which delivers more energy to the artist and the
witnesses. In a different perspective “powerhack” also means braking
and re_coding, which leads to the creation of a yet unknown work of
art and a change on a more fundamental level: crucial change in
understanding art itself and in the way the artwork exists.
4 – What does electropixel festival mean for you? Do you think that
this type of festival is important in the current artistic landscape?
How do see the future for this kind of diffusion space?
I think it is important to create free spaces where artists can
collide their works, where they can experiment and test radical ideas.
The result of such experiments and their disclosure change art and
global culture.
5 – Apart from the idea that art transcends genres and categories, how
do you see the new areas of digital art? How do you understand the
genre “digital art”? What is the difference between digital art,
electronic art, net art, multimedia creation, sound art … etc? What
impact does this sort of categorization add to your approach to art
and creativity?
I don’t like such classifications and I don’t like the term “digital
art” as it tries to unify many artistic domains by reducing them to
the same way of coding or given technology. Relations between
technology and art are complex. Art, unlike technology, is far from
serving attitude in terms of being useful for the society. In my
opinion classifications based on technology are useless because they
ignore conceptual and spiritual aspect of the artwork.
