In the last 8-10 years I have been dealing with the construction, innovation, experimentation and building of kinetic musical constructions or ‘Music Machines’ – as I started to call them-, (or ‘Artwork-Instruments and ‘Sound – visualising and observing – Instruments’). Since then my field of investigation and subject matter of art became the mysterious borderline or intersection phenomena and transition possibilities between fine arts and music – mathematics – physics – geometry and cosmology , apparently openly embracing all the quadrivium studies. My first artworks of Music Machines meant the starting point of a later gradually unfolding creative process and research project I have been working on during the years of my doctorate studies (from 2014 to 2020) which I also summed up in my thesis. Since 2012 I have also been dealing with music composition and instrumental performance , so the musical information or pieces for the automata music machines I composed myself in each case, so, as part of my artistic work and also as part of my investigation I also have been dealing with music composition and music theory, as in practice and as a subject matter as well.
Regarding all of my previous years of work as an artist, there has always been a certain characteristic ‘formal’ heterogeneity, with respect to the variation in mediums and creative intentions of the different artworks. It was also the same in the case of the Music Machines, in each of which different spiritual, poetic and artistic intentions manifested themselves from time to time during the years and thus, slowly a subtle change took place. Thus, in the case of the first musical constructions my first aim was particularly to bring the dimension of sound and music into the ‘playground’ or field of fine arts, in order to ‘vivify’ or ‘animate’ the artworks, in order to make them appear to be alive ‘beings or entities as if they were some kind of abstract but somehow animated and vivified `living creatures`. This kind of dominating, suggestive `presence` was that once particularly inspired and excited me and made me start to create my first `vivid` or `moving` installations, sculptures, or `scenes` that would only fulfil and incarnate their true designation (or their whole existence, if you like) during the time of an exhibition. Since these constructions, once positioned and installed, need to be switched on, to be able to `play` and `perform` their own performance, as if each had an own story to tell, a sound or a scene to be played, or as if they were just switched on to be born, to be vivified, only for the certain exhibition, or `for the sake of art`, only until the `show goes on` so as to be switched off again afterwards, let them taken over by silence again, like abstract, marionette `puppets`, analogously to `human puppets` from real world. The example for this artistic intention can be the ‘Melody Machine No. I. (The Bicycle – wheeled Music Machine). Also, amongst the automatons there are pieces which are particularly originated from a strong, intrinsic spiritual motivation and there is a ‘coded’, personal, űűűvvspiritual inspiration or poetic content which sounds and fades up in their etudes, in their magical-symbolic world. The examples of this are and Melody Machine No. II. (Per speculum in aenigmate…2016 – image 4-5) or Melody Machine V. (‘Oh, how heartrending and wonderful the beauty of Creation is…’ 2020-2021)
These type of Music Machines I call Artwork – (Musical) Instruments.
However, there are also other type of musical constructions, which are instead semi-automatons, or completely interactive artworks, in which there isn’t any such previously saved or ‘pre-determinated’ musical information or personal ‘message’, because they state, ‘present’ and constantly ‘re-create’ themselves in the present ‘here and now’ moment, and thus they themselves help the individual visitor/recipient/player to create, or to play and perform in their own unique way, thus yielding and sharing the fresh and benevolent experience of instrumental play and the joy of free, autonomous creation, play and improvisation with the recipient (listener, observer). (Or rather, who previously was ‘only’ a passive listener, now he/she can be the artist him/herself.) To this type of Music Machines belongs the ‘Musica Taverna’ (2016) or the ‘Source’ (Fountain, 2020-2021) interactive instruments or the Harmonograph (and its ‘new’ version which I myself innovated from the original, completing it with a stringed instrument-supplement ). These type of works can rather be called (Musical) Instrument-Artworks.
And there is also an other variation of these series of kinetic artworks which I named ‘Sound- (analytic) – Instruments’ in which I investigate and search for the transition and conversion possibilities of sound and visuality, music and visual phenomena or observe the behaviour and nature of sound in different conditions. Examples of these in my works are the Harmonograph or the ‘Transformed (or modified) Music Machine No. I.’ (2019) in which I used the ‘cymatics – effect’ or experiment. In the case of the Harmonograph we can get to observe the direct ‘frequency-drawing’ of a musical interval (or overtone), that is, the vibration of a frequency or sound is being manifested with the help of the harmonic vibration of the physical pendulum. While in the case of cymatics, a single generated frequency or sound can be observed in the form of wave patterns manifesting on a visualized surface and medium. These works and phenomena all together I named ‘vibration – converters’.
In the case of these ‘Sound – (analytic) Instrument – works’ (which could even be considered as quasi ‘inventions’, or ‘philosophical or physical games’) the artwork already can be conceived as a kind of a game, as it becomes the direct source of the experience of play and creation, and thus the creative process itself – conceived as a possibility and form of experimentation and exploration – comes to the front. This type of artistic intention or motivation was already the determining drive in the case of these latest works of mine, the Sound ( analytic) Instruments. My latest work, the Crystal Choir (Cymatics) Instrument, which was completed in 2022, actually already combines and embodies all three previous qualities synergistically, as it is an Artwork – (Musical) Instrument, (Musical) Instrument – Artwork and a Sound (analytic) Instrument at the same time.