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.
(video is coming soon)
시간 이동 / time shift explores the acoustic ecology of South Korea, and documents this in a unique medium, an “audiophotobook”. Creating during a two-month residency at Art Center Nabi as part of V2_’s Summer Sessions. Supported by Stimuleringsfonds.
By using photos made in the winter of 2016 by friend and photographer Sébastien Robert (FR, 1993) and recording soundscapes in the summer of 2017 in exactly the same locations, 시간 이동 / time shift explores both the differences and similarities between what one sees and what one hears in these environments at different times of the year. By capturing the locations in both audio and picture, it gives the viewer a fuller understanding of the locations.
The medium of 시간 이동 / time shift combines the old and the new. It is presented as a book, but with the ability to play sound according to the interaction with the book. This way it draws the viewer in while leaving room for imagination.
Through augmenting photos with sound, a new narrative is created. A picture only captures a small part of one moment in time. As sound waves travel everywhere, it is not possible to “frame” sounds. Hence sound can be viewed as a more honest medium. In the words of soundscape ecologist Bernie Krause: “a picture is worth a thousand words, but a soundscape is worth a thousand pictures.”
Working with Vinny Jones, IN.somnial explores the physiological and perceptual effects of light, sound and smell. IN.somnial uses the phenomena of insomnia to create the experience of a liminal in-between space, blurring the line between stories and dreams.
IN.somnial is a poem for the senses. The installation immerses the audience in the nocturnal world of an insomniac, entering the bedroom of the sleepless poet Sonia who is present only in the traces she has left: sounds, scents, books and her writing. Text, light, scent and scenography combine for a sensual journey that fades the boundary between dream and reality. In.somnial uses the atmospheric and physiological qualities of sound, smell, temperature and light, to affect the bodies of the audience, creating a physical experience of the phenomena of insomnia as an entrance into the work’s narrative space. The works merges the personal and the phenomenal experience of insomnia. The space vibrates between these two seemingly opposite places- between sleep and waking, between a body that wants to sleep and an over stimulated mind, to create the in-between space of the insomniac that the audience can discover and experience for themselves. The installation also reflects upon insomnia as a cultural phenomena, exploring questions of how, and for whom, we organise our time and the porous boarders between our private and public lives.
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)
– The Edge / Clique Records, Seoul (July 2017, Time Shift: Korea Recordings version)
– Nabi Art Center, Seoul (August 2017, Time Shift: Korea Recordings version)
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.
The 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.
Together with allround coffee-enthusiast and finalist of the Dutch Barista Championship, Dagmar Geerlings, I am doing an ongoing series of labs where people experience how sound influences the sensory links. During an event we give people three different coffees and by playing sounds over wireless headphones we change the way the coffee tastes. People vote for the sweet-, bitter- and sourness using their phone during the event and the results are shown afterwards, often showing significant differences in taste caused by the sound played while drinking the coffee. This way the participants get a glimpse of what would be possible in a possible near future, where we think about food, drinks and experience in a different, more holistic way.
Presented at Betweter Festival 2017.
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.
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, Amsterdam (March 2016)
– FIBER Festival, Amsterdam (May 2017)
– Mapping Festival, Geneva (May 2017)
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)
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.
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)
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!