FINNBOGI PETURSSON

Earth

FINNBOGI PETURSSON

source: digicultit

Evidentissimo è stato per esempio il caso di Water-Earth, dell’islandese Finnbogi Pétursson, collocata al fondo di un’amplissima sala buia che permetteva di godere di tutta la sua bellezza solo da una certa distanza. L’aspetto più sorprendente di questa installazione è la sua semplicità: con pochi ingredienti (frequenze a 7,8 hertz, una vasca d’acqua e un proiettore di luce) l’artista è riuscito a creare un ambiente visivo e sonoro incredibilmente suggestivo che riesce davvero a trasmettere la pulsazione vitale della terra.
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source: floresenelaticoes

Se llama Finnbogi Pétursson y trabaja con el sonido, pero no en forma de música o ruido, sino en estado puro, partiendo de sus propiedades físicas naturales. Finnbogi captura fenómenos acústicos en el agua, viento, metal y fuego componiendo piezas elementales en su forma y contenido, crudamente hermosas y poéticas.

Las obras que más me interesan son esas en las que Pétursson trabaja con la onda sonora que se transmite mediante altavoces por el agua formando reverberaciones en la superficie que se transmiten por todo el espacio gracias a focos de luz colocados bajo el agua.

Como el sonido se transmite con ondas de formas variadas, los patrones de la proyección fluctúan y evolucionan en mágicas formas geométricas que cambian constantemente.

Fascinantes e hipnóticas instalaciones dinámica que evocan la naturaleza primitiva del sonido dentro de un despliegue de luces y sombras en las que lo antiguo y lo contemporáneo, lo material y lo invisible, lo básico y lo tecnológico, coexisten armoniosamente.

Este artista, utiliza de una manera muy inteligente el sonido como una herramienta para generar una obra de arte visual, desafiando nuestra percepción y jugando con los conceptos de sonido y la visión.

No dejéis de ojear su obra Tides en la que construye una pequeña casa de madera entre el mar y la playa, abierta en la parte inferior. En su interior, se puede estar sentado disfrutando de las olas que penetraban desde el suelo, introduciendo en el interior reflejos del sol. Una poética frontera entre la tierra y el agua, la luz y la oscuridad, el sonido y el silencio…
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source: artshehearts

My favourite kind of art is that which makes us think about the natural environment and the elements; works that combine art and life. Finnbogi Pétursson- from Iceland – does just that. He creates video works that feature the textures and forms created by water. Fusing sound and water with sculpture and digital media, his projects often evoke the patterns and forms of the natural world.

In Circle, for example, he installed large loudspeakers suspended over a darkened pit that was filled with water; the sound wave rippled the surface of the water at regular intervals and created a sense of motion, a still yet reliably repetitive pattern. These shapes were then reflected onto the wall by a projector, which literally visualised the sound coming out of the speakers, turning sound into form and water into art.

Pétursson’s work transforms primary materials – sound and water – into sculptural elements – and asks us to reimagine what might constitute ‘scultpure’ itself. Not confined to the strictly three-dimensional, Pétursson’s works throw certain media into new perspectives by incorporating them into the sculptural sphere, reflecting their patterns and qualities onto different surfaces.

Both water and sound are temporal structures – they have an ability to define and measure but are essentially formless. Pétursson’s sculptures combine them in a way that visualises their immaterial form, and therefore asks us to think about these natural elements as sculptural mediums.
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source: finnbogi

Finnbogi Petursson, is known for electronic works that fuse sound, sculpture, architecture, drawings and moving components. Sound itself is his primary material, typically incorporated into spare sculptural installations that can involve multiple audio speakers placed on the wall, the floor or within columns. The speakers emit sequences of single tones that make what Petursson likes to call “drawings”: forms consisting not of visible marks but of invisible sound waves. For a recent piece in Cologne, vibrating metal panels at either end of the gallery sent out sound waves that mixed in the middle of the room to yield the so-called Schumann resonance–the ultralow frequency that characterizes the space between the earth’s surface and the ionosphere. Petursson’s sound sculptures often elicit a palpable sense of mystery and discovery, suggesting an openness to the kind of world-shaping powers that are especially evident in Iceland

Art in Amarica-Gregory Volk