audiovisual / video synthesis
My audiovisual practice explores moving images as both visual material and electronic signal. I work with analog and digital video, CRT displays, cameras, video synthesis and sound to investigate the relationships between image, technology and perception.
Rather than using these technologies simply as tools for producing images, I am interested in their internal processes: signals, frequencies, feedback, interference and errors become materials that can be exposed, manipulated and transformed into audiovisual experiences.
Practice
My audiovisual research developed through experimentation with video as a physical and electronic medium. I am particularly interested in systems in which the image is generated, altered or disrupted in real time, allowing the behaviour of the technology itself to become visible.
My practice combines analog video synthesis, cameras, CRT monitors, digital processing and audio synthesis. Instead of pursuing a stable or predetermined image, I often construct systems that remain open to feedback, interference and unexpected behaviour.
This approach extends from live visuals and audiovisual performance to installations and experimental moving-image works. Across these different formats, the process of generating the image is often as important as the image itself.
ANALOG VIDEO + SIGNALS
Analog video allows me to work directly with the electronic processes that construct an image. Shapes, movement and color emerge from continuously varying signals rather than from a fixed sequence of pixels.
I am interested in making these normally invisible processes perceptible: manipulating signals, introducing feedback, combining external video sources and moving between cameras, synthesizers and CRT displays. Glitches and instabilities are therefore not necessarily errors to be eliminated, but behaviours of the system that can become part of the visual language.
This way of working makes the audiovisual apparatus itself part of the work—a system whose limits, accidents and material characteristics influence the final image.
IMAGE / SOUND
Image and sound are often treated as separate layers in audiovisual production. I am interested instead in situations where they can emerge from the same signal, process or system.
Working with video synthesis led me to explore the electronic relationship between visible images and audible signals. Video signals can be routed, transformed and processed through audio equipment, allowing shapes, colors, movement and sound to influence one another in real time. What appears on a screen can become a source for sound, while changes introduced into the system can simultaneously affect what is seen and what is heard.
This approach shifts the relationship between image and sound away from synchronization or accompaniment. Rather than composing one in response to the other, I build systems in which the two are interdependent, generated through shared processes and continuously affecting each other.
This research is particularly present in deliberate_glitches, where the RGB signals of a video image are converted into separate audio streams and further processed through modular synthesis. The result is an audiovisual instrument in which seeing and listening become two ways of experiencing the behaviour of the same system.
LIVE + PERFORMANCE
Live performance is an important part of my audiovisual practice. Rather than reproducing predetermined sequences, I work with systems that can be manipulated in real time, allowing images and sounds to evolve through interaction, feedback and improvisation.
Cameras, analog video synthesizers, CRT monitors, physical objects and audio devices can become parts of the same performative setup. The resulting visual environment is assembled live and responds to the specific context, the sound and the other performers involved.
Collaboration has been central to this approach. Through projects such as Wandalumen, developed with Elena Perco, live visuals become a space for combining electronic image-making with physical materials, light, microscopes, cameras and handmade elements. Other performances explore more direct relationships between video synthesis and electronic sound.
In this context, the audiovisual system is not simply a tool used to deliver a finished work. It becomes an instrument to perform: unstable, responsive and open to improvisation.