bounce, interfere
‘Bounce, interfere’ is a spatial-acoustic installation; a partition played in and with the surrounding architecture. The movement of sound produced by Maika Garnica’s objects, wavers around the architecture of atelier Scheldeman. At set times the performative installation, not unlike an acoustical playground, is activated by Maika Garnica.
For Bounce, interfere, we conceived a strong architectural gesture. The Ellipse, where spatial and acoustical properties are meeting up. Sound waves of Maika Garnica’s ceramic sound objects interfere in two different focal points. Every form and gesture can be seen as an attempt of play. Every curve sets a bouncing area for a soundwave. Clay in it’s purest form is used as the central aspect to make forms, objects & vibrations thus creating a playgarden for the ears. Curved metal sculptures carrying these objects refer quite literally to this wavy mindset. Built with a minimum of materiality, plasterboard panels are shown as a raw building component. By placing them pragmatically they enhance this experimental sound mold, showing off their acoustical and esthetical qualities. By ‘not building’ 2 sides of the ellipse, the spectator moves around the sculpture to find its way in. These subtle suggestions set visitors even more in motion experiencing the auditive phenomenon inside.
For Bounce, interfere, we conceived a strong architectural gesture. The Ellipse, where spatial and acoustical properties are meeting up. Sound waves of Maika Garnica’s ceramic sound objects interfere in two different focal points. Every form and gesture can be seen as an attempt of play. Every curve sets a bouncing area for a soundwave. Clay in it’s purest form is used as the central aspect to make forms, objects & vibrations thus creating a playgarden for the ears. Curved metal sculptures carrying these objects refer quite literally to this wavy mindset. Built with a minimum of materiality, plasterboard panels are shown as a raw building component. By placing them pragmatically they enhance this experimental sound mold, showing off their acoustical and esthetical qualities. By ‘not building’ 2 sides of the ellipse, the spectator moves around the sculpture to find its way in. These subtle suggestions set visitors even more in motion experiencing the auditive phenomenon inside.
Foto’s; Vesna Faassen
