Over the past several years, my artistic practice has centered on the intersection of visual art and sound, incorporating sound into my visual works and conceptualizing my art pieces as if they were music. This approach has led me to explore the concept of sound art and its relationship with our senses, particularly the embodied experience of sound.

My interest in this field began with my exploration of the voice qualities of American artist Elaine Sturtevant in my work “Study for Sturtevant Voice (Cover Version)” (2015). This initial encounter sparked my curiosity and set me on a path of discovery, leading to subsequent projects where I experimented with embodying silence, laughter, and collective sound pieces. Works such as « Conversation Piece (for Richard Bellamy) », « Maciunas Laughter (Choir Version)”, and “Untitled (Leo Amino)” have sought to push the boundaries of sound in art beyond conventional auditory perception.

Since then, I have been captivated by the possibilities offered by embodied practices and the somatic act of listening. During my residency at Q-O2, I intend to delve deeper into what I term “non-audible sound art.” Inspired by bodily practices, embodied listening, and deep listening, I am exploring questions such as: What criteria define a work as “sound art”? Can “sound art” exist without any audible sound? Why should “sound art” be confined solely to the audible? Where does the boundary between choreographic practices and sound-focused practices lie?

To investigate these questions, I envision engaging in practical exploration, conducting research, and meeting with the local art scene.

image ©Wojciech Chrubasik