Linda Vujcich: Artista
Misrule Playing Piano
I used a hundred year old piano and created sound in my art practice which explored the idea of ‘deconstruction and ‘reconstruction’. The work addressed and looked a the way that we use ‘language’ so much in our art practice, that we are in a sense becoming ‘over theorised’ in West Australian Art Schools. This is to the extent that there was very little room for ‘play’.
My work looks at music/sound as a metaphor and as another language that adopts the idea of ‘play’. A new language, where ‘play’ becomes important, and additionally, adopting the idea of ‘play’ as a personal signature.
The main objective in making ‘Misrule Playing Piano’ was to use the existing structures of the piano and break them down to create a new narrative. By repeating things differently the works come to be given again. The audience experiences a ‘misrule’ in order to challenge them to experience a new perspective.
The process of breaking the piano down and then reassembling an ‘offspring’ (installation/sound work) was more important.
This became an extension of my past interests with sound in effort to create an installation that was rendered more ‘bodily’ and ‘fluid’. My objective was to use the piano as a metaphor for ‘body’ by using the Piano and keys to ‘deconstruct’ and ‘reconstruct’ the body shifting away from binaries and systematic order to ‘in between’ spaces that cause chaos and ambiguity when binaries are fractures collapse. I intentionally work with discord, mistakes and slippages in order to create discordant noise pieces. My sound project involved and analysis of major and minor keys. Major keys have been portrayed in traditional music history as ‘masculine’ and minor as ‘feminine’. My work attempts to shift these boundaries where another space for noise or sound is created.
This body of work involved strategies in deconstructing traditional ‘rules/conventions/strategies’, particularly within the realm of art history and music. The project insisted on the violation of boundaries that organise the traditional art world/music and involved reworking these premises to offer new narratives. It involved transforming traditional conventions into a ‘carnival’ – a playground of signifiers.
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Only in the past decade have individuals begun to describe themselves as sound and installation artists. But this history presents problems, beginning with the fact that, despite cultural pervasiveness of sound, there is a privileging of music as the art of sound in modern western culture.
My noise pieces do not avoid errors; they are full of mistakes, ruptures, breaks, screeches, fragmented slippages where there seems to be no beginning and no definitive end. They are rickety noise pieces - best described as imperfect blunders where sounds crash and collapse.
Links: e-mail me
I used a hundred year old piano and created sound in my art practice which explored the idea of ‘deconstruction and ‘reconstruction’. The work addressed and looked a the way that we use ‘language’ so much in our art practice, that we are in a sense becoming ‘over theorised’ in West Australian Art Schools. This is to the extent that there was very little room for ‘play’.
My work looks at music/sound as a metaphor and as another language that adopts the idea of ‘play’. A new language, where ‘play’ becomes important, and additionally, adopting the idea of ‘play’ as a personal signature.
The main objective in making ‘Misrule Playing Piano’ was to use the existing structures of the piano and break them down to create a new narrative. By repeating things differently the works come to be given again. The audience experiences a ‘misrule’ in order to challenge them to experience a new perspective.
The process of breaking the piano down and then reassembling an ‘offspring’ (installation/sound work) was more important.
This became an extension of my past interests with sound in effort to create an installation that was rendered more ‘bodily’ and ‘fluid’. My objective was to use the piano as a metaphor for ‘body’ by using the Piano and keys to ‘deconstruct’ and ‘reconstruct’ the body shifting away from binaries and systematic order to ‘in between’ spaces that cause chaos and ambiguity when binaries are fractures collapse. I intentionally work with discord, mistakes and slippages in order to create discordant noise pieces. My sound project involved and analysis of major and minor keys. Major keys have been portrayed in traditional music history as ‘masculine’ and minor as ‘feminine’. My work attempts to shift these boundaries where another space for noise or sound is created.
This body of work involved strategies in deconstructing traditional ‘rules/conventions/strategies’, particularly within the realm of art history and music. The project insisted on the violation of boundaries that organise the traditional art world/music and involved reworking these premises to offer new narratives. It involved transforming traditional conventions into a ‘carnival’ – a playground of signifiers.
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Only in the past decade have individuals begun to describe themselves as sound and installation artists. But this history presents problems, beginning with the fact that, despite cultural pervasiveness of sound, there is a privileging of music as the art of sound in modern western culture.
My noise pieces do not avoid errors; they are full of mistakes, ruptures, breaks, screeches, fragmented slippages where there seems to be no beginning and no definitive end. They are rickety noise pieces - best described as imperfect blunders where sounds crash and collapse.
Links: e-mail me
