guitar

Spring Collection 2015: still on cardboard, some more complex than others but all investigating patterns and their recognitions. As usual there is a discount when made in bulk.

↓ ”A Prayer And A Pizza” or “Bed With A Vision”, (260 ≈ 360 x 320 ≈ 370 mm, apx and respectively), mixed media on cardboard and parmesan.

view_from_the_room

Yeah. On take-out cardboard mainly. (Thin crust, basil and roast peppers, well done) I had my medium delivered on a rainy day. And while waiting for her to come out of the shower I contemplated her architecture; at hand and out there. Both displayed in front of me for my viewing pleasures, shadows dancing in straight triangles, extending their corners. Then we drew the blinds to the world and tried to see it for what it really is.

↓ ”Grab” , (480 ≈ 270 x 290 ≈ 310 mm, apx and respectively), mixed media on cardboard.

grab

1/φ, 22/7, part of the Fibonacci sequence and a cat called Schrödinger. And why not? Just random scraps in random shapes that you try to sort in random order. Cause if beauty is in the hands of the beholder it will eventually find its way to you, play right in to your yearning eyes. So that piece is best viewed with your eyes closed. Unclenched.

↓ ”Shoulda, Coulda, Woulda” and “Oughta, Mighta, Gotcha” (480 ≈ 270 x 290 ≈ 310 mm, apx and respectively), mixed media on cardboard.

shouldacouldawouldamightaoughta

Some cardboard boxes come with print. That makes it kinda ready-made. This one came in white, magenta and imperative words, full of spoiled surprises. That night I happened to dream I was making tea for a host of waiting people but I kept complicating it for myself, to a degree that it just became utterly impossible. And voilà: a piece on obligation and its pitfalls emerged. Hereby be warned. Adding a little spiritual geometry hopefully will detox it a bit.

↓ ”Autoportrait in Homemade Notation” or “Unfinished song in FM7 or something” (490 x 325 mm, apx and respectively), mixed media on fret-cardboard.

Song_or_Autoportrait

I noodle. Mostly guitar. Start with a weird chord stacked all lop-sided and always end up with a quirky progression and a song that takes me places. Mostly I get lost there, but that seems the purpose of my most productive endeavours anyway. Here I put it on corrugated fibreboard from what seems to have been a moving box once and it kinda ended up visualising that process. This particular piece is best viewed on a somewhat crunchy tube amp and goes well with my fretless bass.

“Kiss the sky” or “Ignorance is never an excuse, baby” – interactive installation serving as an allegory pertaining the stereotypes and dynamics of love, sex and adulation in the vernacular of popular music and/or the relationship between artists, industry and audience.

The interaction between users and installation creates two outputs: A) the immediate audio on location and B) 33 mixed versions recorded and distributed at random over a period of 33 years. These versions will all be exactly 33 minutes long and cataloged with the above title followed by opus number and publication date.

All recordings will be obtainable at no cost through distribution channels making use of the most popular and state-of-the-art technologies, but only by redeeming the voucher code phrase (”i:am:a:thief”) displayed at the site of the installation. The entire catalog will be licensed under a Creative Commons Attribution NonCommercial ShareAlike 3.0 Unported License and/or similar future license. All copyrights remain entirely with the artist.

Anatomically correct model of a female human heart, cast in colorized durable silicon. Dimensions and weight are exaggerated by 1:1¾. The heart is suspended from the ceiling by a red cable offering support but also carrying the wiring for both electronics and the system communicating with the corresponding external electronics in the   guitar. The model is heated and maintains a constant temperature of 37° celsius. Internal mechanics create a tangible throbbing pulse timed with a rythmic basso beat emerging from a concealed speakersystem. The volume and rate of the sound is controlled by a gyro within the heart. This is set to a range of 60 to 180 beats pr. second and a volume range of 40 to 80 decibel depending on motion and altitude respectively. A letterpress sign next to the installation offers brief instructions to pick up the heart and gently throw it at the guitar.

At the height of 3 meters a customized 1959 Les Paul Standard VOS electric guitar is mounted in to the wall, recessed by 15 mm. The customization includes the Axcent self-tuning system, removal of all controls, dials and the pick guard. A white high-gloss finish on all surfaces including fretboard and pickups has been applied to the guitar canceling out all other markings and graphics. The self-tuning system is programmed to tune itself rapidly in random order to 4 different chords (G#m#5, AM7, E7#9 and E9sus4) and is triggered by the heart connecting with the strings (pure nickel, round wound). The sound emerging from the impact is modulated digitally to swell near-instantly to full volume (90 dB), to maintain a repeating delay in time with the pulse of the heart, to sustain the volume for 10 seconds before it decays and fades out and is engineered to deliver a clean, chorused and phasing timbre to create a spacious and spherical chime. This sound is amplified and delivered through the same concealed speaker system as the heart pulse. If a string happens to break it is to be replaced immediately and only in opening hours and on site. The person trusted with this task will be instructed to move as slow as possible and to wear a white mid-thigh-length lab coat with the word ”Intermission” embossed on the back. The exhibition venue is free to generate revenue through sponsors placing logos on the coat.