art lab *sponsor
Paulina Kolczynska, Art Historian/Advisor
Fernando J. Pando, Algorithmic Architecture, New Media Artist
Paulina Kolczynska: What were your first works of art
? Do you have any background or interests in sound art?
FJP: My first exhibited work was a series of Photocollages
which examined identity and sexuality. They were on display at the 1999
SUNY @ Albany Exhibition. I have worked with electronic music my whole
PK: The reason I have decided to highlight your past
interest because in some very distinctive ways they have found new life
in your current work. Please describe your current project.
FJP: The perpetual machine takes video and audio input,
and reorganizes the raw data so as to create new “soundimages”
that continually change over time. The audio informs the video and the
video informs the audio in realtime. The work never repeats. The soundimages
continually grow and change, perpetually evolving for infinity. The
soundimages can be used to gain a new perspective on the core input.
This cut-up process provides insight into the disjointed quality of
the superdense oversaturated urban landscape of image representation
PK: So in fact you have created two types of images:
visual impressions and sound images in which interraction perpetuates
creation of new artwork each time that the audio interferes with the
video image. This is a very interesting example of a so called "open
ended work of art" so characteristic of the direction of art in
our still very young XXI century. What also interets me is the almost
tactile quality created by this specific interraction between audio
& video. Was this intentional?
FJP: Yes. The work is an examination of the sensory
input within an environment. In the current version of the machine,
the input is related to the Bland Housing Project in Queens, NY, which
is full of visual, aural, and tactile stimuli. As urban dwellers, we
continually block out sensory information, so this is a way to examine
what we unconsciously block out. This machine allowed me to gain a better
perspective on the site, which was the raw material for my proposed
architectural intervention of the Bland Housing Project. (www.blandmutations.net)
PK: It seems to me that your artwork turned out to
be a powerful means of redefining specific space by giving the viewer
a new set of eyes. It is almost as if we were given an extra set of
abilities which help us uncover what usually remains unseen or unheard.
We use one set of senses (ears) in the area which we are used to using
others (eyes) that permits this very different perspective. It is a
great idea. Inversion which helped to define a space. Is it then correct
to say that in fact "this is the space / the architecure"
which paradoxically remains in the center of this work?
FJP: I created the machine to be able to “see”
underlying themes at work at the site that were not visible by the naked
ear/eye, so in this regard it is a success. By giving the viewer a perspective
they have not yet been conditioned to ignore (as is necessary in our
culture of interwoven representation), the viewer can perceive the raw
input through a new perspective. My intention is to feed other cultural
phenomenon into the machine in the hopes that new insight can be extracted.
I am currently working on a new version of the machine that examines
the space of global politics and the American consciousness.
PK: I am very pleased to having this opportunity to
talking to you and we will have in depth conversation about it at the
Chelsea Art Museum on February 8 in a presentation entitled :"Collecting
the New Classics". There is also a video available on The Project
Room website at www.TheProjectRoom.org