At OKNO David De Buyser experimented with mold and sound in order to make a bio-electronic synthesizer. Please go to the wiki to get more info.
COLLABORATION | Here we are talking about the given space as the starting point for creation; how a collaboration was established as a "working together" and more, "putting things together" in space.
So we've elaborated the definition of the given space [empty space before elements are added] and for the worked space [exhibition space].
As a starting point for working together, a space needed to be chosen, and this hosting space would be the bond between a series of events. The collaboration thus required adaptation not only to one another but also to an existent plot, a place of instantaneous configuration of positions that would imply an indication of stability. The exhibition space, on the other hand, is a product of actions held in a place in a specific moment [the present] that can always be transformed by successive contexts. The stability of the hosting space is intersected by the implied instability of new elements creating a mode of something that it is not stable or finished but in a specific moment retains properties of stability. ______________________
In this context, A State of Stability is not a space but a means that convert existent places into plural ones that would suggest moments to be contemplated .
A STATE OF STABILITY*
State: a condition or way of being that exists at a particular time; the present situation.
Stability: a situation in which something is not likely to move or change; the ability of an object to maintain equilibrium or resume its original position .
ARRIVAL | When we first enter the space a collection of moving objects catches our attention. The impression is that they move freely, creating a certain choreography. The space in which this performance is taking place becomes a stage with an intentional scenography, where nothing is happening by chance and all is presumed to have some intended effect or meaning .
The spaces in-between the elements are not left-overs but are charged with energy that plays an active and influential force in moulding the objects within it . The elements are moving with a peculiar speed, revealing an unfamiliar union of the act of observation and of time passing. It is necessary to stay and elect how to _________________
experience the given space since the mobile objects do not offer an ideal viewing position. This scenographic preference infuses a sense of potentiality if compared to static artworks . By avoiding to conduct a unique path, A State of Stability reveals a dialogue with the viewers' desire to manipulate and play out inherent narrative _________________
propositions thereby unfolding the performative qualities of each element .
NATURAL CYCLES | This imposed rhythm opens a frame of reference based on cycles that happen outside of human control,
ones that question motion, speed and perception in the sense that one can perceive modification only when experienced within this
For A State of Stability, a natural cycle is seen as every event that challenges stability and directly influences the work.
The variations provided by natural cycles cannot be predicted and inflicts in artistic flexibility using technology to shape but not control.
It is a symbolic to take from nature its own light, sound and movement.
It is noteworthy that the uncontrolled features of the natural cycles are accepted as a given artistic freedom used to generate unforeseen qualities in
the work. It is a practice of respect and patience in which the moments of change are very important not only for the artists but for the viewer. In this way, A State of Stability suggests an observing of events yet to happen, a waiting for moments to occur, and so render an indexed temporality to each person.
The F-BOX gives us a complex structure of sounds generated by changes in the mold. This system is presented in glass plates, where the mold grows and changes naturally. The work can be observed as an apparently static object but also as a performative element since alteration of the mold is processed as sound changed by a synthesiser.
Light is an element so far missing. Suddenly, and at an unusual speed, a flash of light seems to invade the space. It comes from a window and follows a path as sunlight during the passage of the day. At this moment the perception of the space changes; presence in space changes. The impression complies with the movement of the sun but the speed is off, normality is shifted.
AESTHETICS | Here we are talking about aesthetic choices, a prerequisite to working together; including material, positions and applied technology.
materials are mixed with natural elements [mold, stone, light]. The space is modularly composed and defined by right angles and proportional
measures and so does not establish a hierarchy amongst the elements. The simplicity of shape and material renders the elements a strong presence,
determining a group in which each element can also speak for itself.
Likewise, the applied technology relates the elements aesthetically to one another and runs each part of the group generating sound,
light and movement in attempt to aggregate new values to natural elements. Both artists' work is based on the use of technology as means for
representation and it is used as source of possibilities to display their concepts. They try to understand technological development and
the effect it has in our notion of speed. A State of Stability subtly argues that speed is simply the rite that initiates us into emptiness ,
proposing to slow down, stay, and engage ourselves in the experience.
The collaboration was established to share ideas and knowledge based on feedback that would create the conditions to accelerate the production process. Mainly working independently but willing to work together, the two artists opened up room for artistic flexibility and adaptation by searching for a common ground. Their like aesthetic views contributed to an easy bond and made for the decision to show a group of their pieces, which at first sight, one
cannot know where one starts and the other ends.
The materials used to build the structures are 'pure', ie. they are presented without adornment, nothing is exaggerated, nothing is without function. It is an adopted principle that the work would not benefit from decoration.
Material decisions depend on the exhibition space. In one case, glass and wood, in another, glass and steel. In both instances, ___________
Exercising Slow | represents this rhythm where a stone is dragged by a gearbox across the space during the course of the exhibition in one unique slow trip. Apart from the performance, the piece generates sound by processing every second of movement in sonic data. The sounds collected by a contact microphone attached to the bottom of the stone are looped and thus proliferate breeding a very rich, multi-layered composition containing all the little grained sounds from the entire period of movement.
RHYTHM | A State of Stability is a spatial practice conducted by the movement  of elements and people.
The artists concentrate on finding an ideal spatial arrangement that does not signalize an order or direction for the viewer.
There is no hierarchy indicated and the elements can be seen individually but also simultaneously, as one,
in an attempt to unveil plural and unforeseen relations.
In the room, nothing is still. This rhythm imposed by the ensemble of displacement manifests a sort of proximity between the artwork and the viewer. The elements do not hold an ideal viewpoint or clear physical borders separating them from the world surrounding them . At this point, one [element] invades the other [viewer] and the sense of otherness is lost.
While everything seems to be in constant change, A State of Stability prevents an obvious reading of events by slowing things down. This slowness of the objects causes a certain strangeness and we cannot be sure there is something really changing here. One needs to take the time to understand what it is happening. This time that ___________
each individual gives in order to observe the elements emphasizes the subjectivity of what 'taking a look' could mean.
Visualizations are being generated continuously. Poetically seen, A State of Stability produces visualizations of sound and time by processing into sonic approaches the data collected _______________
from movements or changes. This dynamism grants us the feeling that things are happening while we are present and that everything can change once we turn our heads away. _______________
At the back of the room a white 4x3m screen is hanging still. An image is projected and subtly we can notice change.
In Screen, low frequency sound visualization is exercised by vibrators that generate movement on the fabric.
The installation is conceived as a video projection of the projection screen on itself. The waves we see are the simplest representation of the sound
we hear. The screen seduces us to come close and play out.
"Today, no staging of bodies, no performance can be without its control screen. This is not there to see or reflect those taking part, with the distance and magic of the mirror. No, it is there as an instantaneous, depthless refraction. Video, everywhere, serves only this end: it is a screen of ecstatic refraction. As such, it has nothing of the traditional image or scene, or of traditional theatricality, and its purpose is not to present action or allow self-contemplation; its goal is to be hooked up to itself." [P. 37 - America, Jean Baudrillard]
TIME IS A TECHNOLOGY | A stone is dragged through the space using a hoist. The movement is so slow that it is hardly visible. The sound of the stone moving across grains of sand is picked up by microphones inside the stone and this sound is amplified through copper plates serving as loudspeakers. The extremely slow movement magnifies, as it were, each point of contact, making time tangible - or rather: audible - through the creaking and grating sounds. As the day progresses, the sound cumulates into an increasingly richer and fuller sound. At the end of the day, the sounds become a recording of the amount of energy necessary to move the stone.