Reading School of Art, BA Art Finalist.
please view everything in 1080p resolution, and hear everysound from good stereo speakers (or good quality headphones.)
My work mostly consists of time-based media, such as video and sound. However, I also practiced still imagery as photographs and paintings. All the time-based media is created by collecting footage and sounds from my surroundings using appliances such as lights, a DSLR camera, built-in cell phone microphone and a GoPro5. To create diverse scenery or sound pieces, I experiment with objects such as sunglasses or various fabric to cover the appliances and more. Filming process involves experimenting with different angles and shooting types, such as filming from a floor point of view in the piece, "Indentro" . When recording sounds, I followed two different paths. One way is to collect the sounds that I either find interesting or make the sounds on purpose. When making sounds to record I use objects around me, phone calls, radio sounds or my own voice. Later in the editing process, I render and manipulate the sounds through Ableton Live 10 software. Sound effects, rhythmic features and equalizations are applied to the piece according to the desired outcome. However, some sounds take unexpected forms during the process and might even form the core of the sound piece.
Second path in recording was to record on the way as I collect a footage. To have the sounds of the footage I film at the same time.
Main idea behind the work is to reflect a perception of consciousness, remark some diminished aspects from a day in life. I do this by attempting to relay what I perceive from my surroundings both sonically and visually. My practice started off with assembling the sound recordings with tonal and harmonic midi clips to enhance the moment of the sound that had been heard and recorded. Moreover, melodizing the sound samples I collected by tuning or transposing them, articulating the samples towards a rhythm to intensify the sonic consciousness I am trying to illustrate.
Nonetheless, there seemed to be more to construct and emphasize the desired atmosphere. I started to collect footage to create visuals along with my sound pieces. My changing surroundings supplied me different sound variants, as well as dynamic footage. First, I started to assemble my footage towards the composed sonic consciousness which was obscure and fluctuating. I would flicker with lights and assemble footage accordingly to
the muffled sounds and rhythms. I edit the footage collected, using Adobe Premier Pro, the editing process consists of color correcting, cropping, and framing the footage in various ways. It is possible to observe this process in the works “Surround Sound” and “Distant Despair” In the making of these works I was very much inspired by the local artist Inal Bilsel and Brian Eno with their ambient sounds and smooth futuristic visions.
Further in proceeding, I also experimented filming and recording at the same time and produce the sound piece as I edit the video. In the piece “via” the video starts off with natural sounds according to the footage and the sounds start to change as the car ride starts. I was visually influenced by Steve McQueen’s “Drumroll” while merging the frames, arranging them in a progressive way to bring in a distinctive point of view. I wanted to underscore the delusional stream of a simple car ride, imitating the moment when driving becomes an automated act and one starts having a mindful moment during this act.
On the other hand, with the still imagery practices, I experimented digital photography using photoshop with the piece “Glacier” which also got the opportunity to be presented in the “Nature Created by Design” Exhibition held by Seoul Institute of the Arts. ( I also experimented with photographing myself to work on a series of self-portraits ( in the making of the “self-portrait” I was interested in the works of Arno Rafael with the aspect of body parts, Trish Morrissey and Francesca Woodman with their self-portraits. The outcomes of these still imagery also touch
upon the aspect of perceiving usual as unusual. It is possible to read more about their context through the hyperlinks above.
Throughout the whole process and practice I have looked upon artists such as Hito Steyerl with “the language of broken glass” as a way of capturing sound. Cyprien Gaillard with his “Night Life”, Mark Leckey with his “Fiorucci made me Hardcore” and “O Magic Power of Bleakness (Five screens)”. Ragnar Kjartansson with “The Visitors” as he displayed the footage collected from different rooms in a collective on room. “The Visitors”was also an influence on presenting the work if it was possible to do so, for example, having different screens around a room. Through my research, I also came across Taika Waititi’s “Two Cars One Night” the way he frames time in thefilm appealed to me, the context might not relate to my personal practice, but the scenery and frames were very much inspiring to consider while shooting scenes. In addition to all observations, I have also read articles from the
book Audio Culture such as “Visual and Acoustic Space” by Marshall McLuhan, “Ambient Music” by Brian Eno on sound art.
Alongside all the observation and experimentation, the attempt to pass on; to broadcast a point of view and to transfer a perception of consciousness through various forms, encourages me to continue generating this type of media.
Please make sure you are watching all the pieces in 1080p HD format and Listening to them with high resolution audio speakers or headphones.