Frames without skin and human soul, but still with their timeless connection of the collective memory.
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What inspired me:
During a museum visit I saw a harpsichord in a corner. It stood there like a soundless object with only its shell as an echo. I got the idea this instrument has gone through quite a few metamorphoses over the course of its history. The harpsichord from the 15th century developed after the piano in the 17th century, an instrument with a larger sound box and new strings, from which the grand piano emerged in the 19th century.
In the 20th century there were experiments with the sound of the piano, the prepared piano. The instrument lost its sound box and strings in the 21st century with the advent of the digital keyboard and ends up in a sampled sound for computer software at the end of the 21st century. rr
At the same time, I heard through the open window, the public noise flowing in from outside. This moment inspired me to 'Echo's'. Nowadays just about everything is digitized, frozen data is arranged as objects, only public life is still an analogue in a continuum.
'Echos' has a still pulsating effect in a ruin with open data of frozen elements. It is like a landscape on canvas with architectural lines of disappeared structures. Our skin and soul seem to disappear more and more into a sampled and mysterious algorithmic data. Frames without skin and human soul, yet with their timeless connection of the collective memory.
From the sonata K87 b-minor for harpsichord by Domenico Scarlatti (1685-1757) I have used different fraces and processed them into a new item, but keeping the old data code in it. The last romantic, pianist Vladimir Horowitz, performed this work regularly. In his performance every note was a given in the whole. The lines in the work refer to remaining architectural lines of the museums themselves. The human bodies have disappeared, only the clothing is present as sheaths. But the spectator's fantasy reflects its spirit.