I’m active as a sound artist, sound designer for interactive systems, performer and educator and have a great interest in procedural sound as well as creating sound for the everyday life. Besides being an artist I believe in the importance of educating (young) people to make their own media. I’ve worked as a researcher and educator in the Netherlands, England, and Zambia, teaching about sound and electronic music to people of all ages.

For the last few years I’ve been dividing my time between creating music or sound for installations, new instruments, theatre or objects, organizing events with sound art collective Soundlings, writing for sound art blog Everyday Listening, as well as teaching at some of the leading media art faculties in the Netherlands. My works carry a strong organic quality that is audible in all of my creations.

Click here to download my résumé


Soundlings // Everyday Listening

Soundcloud // Facebook // Twitter // LinkedIn

Cantus Viscous (Performance)

With the LIMA collection as point of departure, Mark IJzerman made the AV-performance CANTUS VISCOUS:
In this performance the concept of pareidolia is explored. The human mind will always try and “classify” familiar patterns- which is why we see faces or other familiar objects when cloud watching, for example.
An emergent video synthesizer is fed with material from the LIMA collection, while sounds from the collection are performed using tape-loops. The video synthesizer “listens” to the incoming sound and it reacts according to the brightness, noisiness, etc. of the sound. Through this process, excerpts from the collective sometimes become recognizable, making the audiovisual experience walk the line between abstract and figurative.
“CANTUS VISCOUS” is named after “cantus firmus” (meaning “fixed song”), the musical term for using an existing melody as a basis for a new composition. Also, it is sometimes used as a metaphor for something that endures.

Live-set consisting of a performance with four-track tape recorders, endless cassettes, a modular synth, home made spring reverbs, a modified Space Echo and a homemade software video synthesizer.

Commissioned by LIMA Media Art Platform, realized from August 2016 to February 2017.
– LIMA, Amsterdam (February 2017, premiere)

Songline (sound art trail)

For the OORtreders festival, an event about transdisciplinary art with a focus on sound in Belgium, sound art collective Soundlings created an unique evening walk. The concept of the walk took inspiration from the Aboriginal people’s animist view of nature. The original inhabitants of the Australian continent believed in the ‘Dreamtime’: the period in which the ancestral spirits created everything, including the Aboriginal way of life. ‘Songlines’ are the paths these ancestral spirits took during the Dreamtime, and they can be navigated by repeating the words of a song. In other words, the song is closely connected to the physical experience of travel.118-MRas-OOrtreders-3359The walk through Klankenbos confronted the participants with various natural phenomena in the form of installations and concerts. These included a drone pillar using natural light patterns, several performances, a sounding breadcrumb trail to find the way back through the darkness, and an artwork that lets you experience the breathing cycle between trees and humans.

CRDL (sound design & sensor interaction)


CRDL provides an accessible invitation for Alzheimer’s patients, loved ones and caregivers to make mutual physical contact. Developed from the belief that human touch can have a positive effect on personal well-being, CRDL encourages people to establish this contact. (See folder)

CRDL is an interactive object that translates bare-skin touch into sound, using the sense of touch as an agent for engagement. The object acts as an icebreaker – circumventing the cultural and social barriers embedded with touch and intimacy – by creating a playful and spontaneous environment in which users are open to engage each other and explore the depths of human contact.
For the CRDL I created the sound interaction, dealing with the sensor data, Linux infrastructure and the sounds. Some of the code was based on that of Dooho Yi, who worked on earlier prototypes.

Presque Vu (performance)


A piece in which the visuals react to its sonic counterpart. With music created using field recordings and resonances recorded while traveling and stored on cassette tapes, visuals will be influenced, slowly uncovering itself like old 16mm film burning in reverse.

Live-set consisting of a performance with modular synth, 2 4-track tape-recorders, a bunch of endless cassettes, home made spring reverbs, a modded Space Echo and reactive visuals.

Realized during a residency at STEIM in collaboration with FIBER in January 2016.
– Spektrum, Berlin (January 2016, premiere)
– LIMA, Netherlands (March 2016)

Hendrick’s Gin Emporium of Sensorial Submersion (installation/theatre)


For Hendrick’s Gin I created several “ginspired” installations, part of an immersive theatrical experience on during the Edinburgh Fringe. Working as a collaborating artist with brand communications agency Steely Fox, I created Rose & Cucumber-listening posts, musical cocktail shakers, a white “Quietude room”, an experiment to do with the influence of sound and color on taste in the “Audio-torium”, an interactive cocktail table and a blindfolded audio-experience where you experience the ages of gin.
To realize this I worked together mainly with brilliant sound artist Fedde ten Berge (hardware and sensors), but also with Jesse Meijer (woodwork & metallurgy), Bo Keijzer (woodwork), Gerjan Piksen (concept), Chi Ha Ucciso Il Conte? (product design), and Tim van Kessel (gastronomy enthusiast)

Stad der Blinden (Sound & composition for theatre)

For Thibaud Delpeut’s theatre-adaptation of the book Blindness by Nobelprizewinner José Saramago, I created various mini-compositions merging field-recordings, cello (by Dianne Verdonk) and electronic soundscapes. I worked closely with Thibaud to bring together his, and my soundscape, creating a very intruiging audio-experience to an incisive audiovisual experience on location.acteur-jesse-mensah-over-stad-der-blinden-gaaf-om-een-voorstelling-te-spelen-die-zo-ver-buiten-de-werkelijkheid-ligt-4
Stad der Blinden can been seen at:
SPRING Festival Utrecht (26th of May – 6th of June 2015)
Oerol Festival Terschelling (12th – 20th of June 2015)
Over ‘t IJ Festival Amsterdam (2nd – 12th of July 2015)
Boulevard Festival Den Bosch (11th – 16th of August 2015)

Article about Stad der Blinden and my soundscapes in De Volkskrant.

Interview on Radio 1 with Thibaud Delpeut and me

Reviews of Stad der Blinden: NRC (****), Trouw (****), Telegraaf (****), Volkskrant (***)

Nova Loko

Nova Loko is a piece by Mark IJzerman & Roald van Dillewijn, with Dianne Verdonk on cello.
It celebrates new places and the romanticism of old ones. 30 minutes of music which have been collecting dust for a year and a half. A gift for the holiday season, something to listen to while traveling to relatives. May you visit lots of new places in the new year!

Tingle (instrument)

Tingle is an instrument by Nupky.
I work on the software side, figuring out how to use Tingle for new musical expression.

Soundroots (sound installation tour)

For the Gaudeamus Muziekweek 2014, Soundlings created a sound art trail with a narrative on the secret sounds of plants. It took the audience on a poetic journey through the botanical gardens of Utrecht, while telling a story and inviting people to listen.
Consisting of a short talk, a trail of almost thirty sound installations and a spatial composition in the old Botanical Gardens of Utrecht, the collective plays with what’s real and what’s not. By doing this, they’re balancing between actual theory of biology and technology, and poetics and mythology, making for a trail that leaves the visitor wondering.

Sound in Context (workshop)


Workshop “Sound In Context: The History And Meaning Of Audio In (Interactive) Contemporary Art” for the Makers Workshop series of z25.

In a creative process, the role of sound is in many ways just as important as the visual part. It does not only transfer a lot of information, but especially sound can add an extra dimension to the experience of the participant/interactor. Audio contains various import elements, but to be able to use it in our projects, we need to know a bit more about how we perceive sound.
During this workshop Mark IJzerman will shed light on how we experience, think, and can work with sound, and how you as a maker can develop a vocabulary to discuss timbre and aesthetics in an interdisciplinary collaboration.