unfold (a topography of the temporal)

Objects with a temporary nature in the Reykjavík area scanned in 3D. The objects, in their new digital environment, are then mapped using classical topographical and experimental techniques, solidifying their permanence.

fine art print, laser engraving


A four channel interactive audio installation and performance in the botanical garde n of GUM Ghent. The work features recordings from the Peruvian rainforest to the mountains of the Caucasus, combined with sythesized birds and manipulated field recordings, questioning the reality of the sonic landscape. An unexpected live ensemble of frogs during the night emphasised this contrast even further. The audience was able to interact with the soundwork by touching alien spheres placed in the botanical garden and plants to activate the installation.

audio installation and performance

lands beyond

A collaboration between man and machine. This series of works consist of a selection of endless variations of computer-generated landscapes. The images are generated using artificial intelligence, a computer model that was trained on a database that consists of a personal archive, including photos taken in remote mountainous regions and past work. The process is also called machine learning, or deep learning. After travelling to a new location, the computer model is updated with new photos. The model is able to generate new images based on its updates and generates an ever further compressing memory of the mountains. The collaboration raises questions regarding imagination and observation, and provides a glimpse of possibilities in regards to unexplored landscapes we might encounter, wherever the future may take us.

fine art prints

frequency shift

Frequency Shift explores the limits and sensitivities of perception from a beyond-human perspective. Through a series of interlinked frequency shifts in both the audible and visible domains, windows are created to explore a world we would not have access to under normal circumstances – a world tailored to the delicate and perplexing senses of the bat. Two questions arise – what do you see through the eyes of a bat? What do you hear through its ears?

The visual aspect of the work consists of two fine art prints (100 by 70 cm) and are an interpretation of what it would be like to see through the eyes of a bat. Starting from lidar scans, a process of down- and upsampling was used to simulate the low light and colour sensitivity of a bats eyes. Then, a shift in frequency was applied to adjust our human eyes to the two windows into the world of the bat.

Bats can, similar to sonar, locate objects using reflected sound, this is called echolocation. As echolocation is a way of perceiving we as humans cannot dare to imagine, the audio portion of the work aims to change the perspective on listening with an audio installation. By placing a device on the head, the listener listens through their head rather than their ears. The composition itself (30 minutes, loop) contains field recordings, shifted in frequency, transforming the world around us, tuned to the ears of a bat.

commissioned by Decentering Design, part of the research centre Futures through Design, supported by KASK & Conservatory, HOGENT, Howest and Devine.

audio installation and fine art print (diptych) 

მთის ხმა

What lies hidden in these mountains, underneath their green, velvet mantle? How can I get them to speak to me? მთის ხმა (mtis khma; Georgian, the sound of the mountain) is a work that concludes a research into the audification of mountains ranges, aiming to to uncover what lies hidden in the mountains. For the work, the mountains of the Greater Caucasus in the Tusheti region in Georgia are given a voice by taking the outline of the mountain range and converting this line into an audible waveform. The sound is then compressed and expanded, simulating the movements of the mountains in its million year formation, generating a vast sonic landscape. The original sound is then reinserted into the sonic landscape, symbolising the rugged peaks of the original landscape. The title of the work refers to the book The Sound of the Mountain (1953) by Yasunari Kawabata. In the book, Kawabata describes the sound of the mountain as “it was like wind, far away, but with a depth like a rumbling of the earth”. The quote, translated to Georgian, can be heard alongside the coordinates where the source material was collected. The accompanying graphic sees photos taken during the creation of the work in Tusheti slowly fading into abstraction, outlined by the original soundwave. 

Voice work by ელენე კობიძე

at Kiosk, 2021


with special thanks to
audio installation