Shores of Echo
Category: Event Calendar
Date and Time for this Past Event
- Wed, Oct 26, 2022 - Sat, Dec 3, 2022
Location
Akron Soul Train
191 S Main St
Details
Showing in the CapSoul Gallery at Akron Soul Train
Daniel Trzcinski will be exhibiting his residency work in an exhibition titled Shores of Echo. Daniel Trzcinski is an Ohio-based writer, musician, and audio/visual artist whose main effort for the last six years — songwriter, producer, and frontman of the synth-pop duo Bliss Nova — has explored to what extent immersive, collective experiences of art can set up conditions of possibility for embodying transformative ideas. He used his residency to complement his ambient/instrumental project, Shores of Echo, with a visual component using analog-to-digital video processing equipment.
His artist statement: Apropos nature, Emily Dickinson proposes that “those who know her, know her less / The nearer her they get.” For me, the inverse is true, too: the further we get — into the virtual, digital, artificial: the so-called ‘unnatural’ — the more familiar this irreducible strangeness becomes. Turns out, what’s ‘in here’ is ‘out there.’
My audio/visual work recontextualizes artifacts — perceptible distortion common with analog/digital conversion — as ‘happy accidents,’ so the ephemeral becomes essential. I use instruments such as audio and video synths and samplers, as well as outmoded mediums likeCRT-TVs and tapes, to process lo-fi improvisations with ethereal, uncanny effects. Sources of shoreline sights and sounds include my own ‘IRL’ field recordings, a 3D beach I built in Unity, and digitized vintage DIY film archived online with few views. This collection of post-Internet pieces is provoked by Adrian Piper’s eerie selfies from “Food forthe Spirit” (1971), documenting her dissociative “self-transcendence” reading Kant’s FirstCritique in isolation — (contrast with my pandemic paperback, Hegel’s Phenomenology) — andby René Magritte’s notion of the “hidden visible,” signified by the apple-obscured visage in hissurreal self-portrait, “The Taste of the Invisible” (1964), and by his enigmatic object, thenon-pipe, in “The Treachery of Images” (1929), also known as “This Is Not a Pipe.”
