ABOUT Frouke Wiarda
inventor of musical instruments
research and collaboration
In my work and in every project I search for various forms of expression by bringing together the different art forms, in particular contemporary composed music, improvised music, sound art, installation art, visual arts and/ or theater. I therefore collaborate with composers, sound artists, visual and performance-artists from all kinds of different backgrounds. An important aspect in my projects is working with research-institutes and making the knowledge already present in institutions and/or companies accessible to the knowledge-seekers; the artists. As a result, multidisciplinary projects arise and together we look for a dialogue with the environment and the boundaries of musical and visual parameters.
1. I aim to make connections between science, technology, the arts in the broadest sense of the word, nature and culture. A broad movement in which art and its research questions can come to innovative solutions through collaborations with each other and with other experts. It can be a laboratory for future-oriented, innovative and sustainable experiences/performances/projects in combination with the natural elements and the forces of nature.
2. I prefer to present the projects in open ‘free’ spaces, accessible and free for everyone. By letting the performances play in the ‘open’ space or in extraordinary places, you let their testimony resound in that place. You stimulate the auditory and visual spatial awareness of the audience. It is about the generosity in the action and the experience of the transdisciplinary art form, through which in my view, the public can enter into a boundless connection with its surroundings. The audience is with each other and together, art-loving or not; together in extraordinary places, with extraordinary collaborations that produce extraordinary events. All your senses are sharpened, the imagination is stimulated. Spaces speak of an unheard story. This creates contact with the environment and the other.
3. Giving a positive contribution to society.
‘To some degree it could be said that Wiarda’s practice rests on the reciprocity between highly specific, yet historically situated material objects on the one hand, and unpredictable, intangible sounds on the other. Yet even this dichotomy soon breaks down, because the sounds themselves resonate with the traces of how they were produced, and thus have a history of their own, while the objects give rise to their own uncertainties and inexactitudes. Wiarda plays imaginatively with the possibilities and meanings of sound, encouraging us to listen again to the objects and processes that surround us in our everyday lives, yet nonetheless have their own unique stories to tell.’
Nathan Thomas for Fluid Radio
I am fishing for sounds.
“I work with vitreous porcelain, and also bone china,” Wiarda says, “to give warm sounds or sharp sounds. The vitreous china sounds a little bit softer. I don’t like it, I like the harshness. The bone china has a really nice, crisp, ‘kkgghhh’. And you don’t really hear what I’m saying when I’m talking [in the recording], but sometimes you have a sense of, “ssshhh”, “aaaah”, “hheee”, something like that. Vocals work the best, but I tried putting different sorts of instruments into it. Beats also work well.”
In ‘Pantagruel’ (1532) beschreef François Rabelais de geluiden van een winterse veldslag die als kringen in het water in ijs bevroren waren. Bij het intreden van de dooi kwamen ze weer vrij en lieten van zich horen. Een eeuw later schreef C. Sorel in een fictief reisverslag over een volk in een afgelegen gebied ‘zij communiceerden over lange afstanden door een boodschap in een spons te spreken’. De spons werd verstuurd. De ontvanger hield deze tegen het oor en kneep er zachtjes in om het bericht te beluisteren.