Seeing is believing..
We live in a world where all encompassing audio/visual experiences have the power to influence the human psyche beyond comprehension. Classical forms of artistic pieces are constantly evolving as the hive of modern technology continues to gain strength. Some are overwhelmed by it’s realism, others are inveigled by it’s domination. This individual however can wield it’s power as skillfully as a surgeon wields a scalpel.
Martinovna is an interdisciplinary artist who specializes in visual art. Arguably, she’s one of the most talented VDJs in the world of electronic music. Her resume includes collaborations with hypnotic artists such as Tommy Four Seven, Glós, and Kangding Ray. Hailing from Warsaw, Poland, please enjoy this informative interview with the ever so popular, Martinovna.
The strong ability to correlate visual art with music is essential when it comes to developing a full production in today’s climate via entertainment. You choose to work with a more “humanistic” and “thought provoking” style of music to associate your work with. What inspired you to focus on collaborating with hypnotically profound artists of this nature.
The ability to perceive visual art more consciously is a process that I was developing in recent years. Watching my progress from a distance, I see that people who impacted my life became an impulse for creating art. Some occurrences defined my desire to search similar feelings and analogies in music. I find it really fascinating to translate the feeling found in music into visual work. In electronic music the structure of sound is something that captivates me and gives me inspiration. However, the most unforgettable feeling is the satisfaction and relief resulting from each life performance.
Your visuals grab viewers into live productions and delivers a strong ultimatum throughout the performance. What goes through your mind before and during a live session; do you anticipate the journey of the musician’s performance? In other words, do you think on your toes? Or do you communicate with the musician beforehand.
Depending on the show, I sometimes create a visual set after consultation with the musician. This is more time consuming, but definitely more satisfying! However, I love to be given room for creativity, as well as coming “unprepared” for a performance. It gives me the adrenaline I need to create a reflection of the music in real time. Creating visuals by improvisation is an experience I gained during music events as well as VJ battle conventions.
Are you self taught? And/or did you acquire mentor ship? Or did you go to school to learn visual design.
My current style of performance is a mix of skills learned from people with a passion for VJing and video performance. After three years of development within the VJ field I was able to enrich their lessons with my own discoveries and experiences. Still, a big part of my performances happens “in the moment”, and I love this kind of work! I need to feel absolute freedom in order to perform well. This had a huge influence on my diploma thesis for the Academy of Fine Arts in Warsaw, which was a reflection of my latest visual discoveries.
What is/are your favorite shape(s), and what is/are your favorite color(s). How do you build a strong relationship between the two while rehearsing.
I like to use a monochrome mode or just a single colour to showcase certain details. I think there is a purity in classic greyscale. The shapes that I choose for the videos or other creations are simple and organic forms that I find very appealing. Recently I source inspiration from nature and science, which reflects into my visuals.
Do you have any other hobbies besides visual design? How do you think your other hobbies aid to your ability to tell stories through motion graphics.
My main passion will be always music. Most of my free time I spend at digging for new sounds.
If you were to select a poem that directly reflects you as an artist and an individual, which poem would you choose and why.
Instead of a poem I’d like to select quotes from the Manifesto by Fluxus, an interdisciplinary artist community, formed in 60’s: “Purge the world of bourgeois sickness, ‘intellectual,’ professional & commercialized culture, PURGE the world of dead art, imitation, artificial art, abstract art, illusionistic art, mathematical art, — PURGE THE WORLD OF ‘EUROPANISM’!” I am not interpreting the manifesto on a one-to-one basis because it’s too radical in its form. Of course nowadays I find inspiration from abstraction if the motive fits moment. Overall, I like to avoid determining art as a closed materia available just for a selected crowd. Sometimes art is just a mockery and people do not get it. According to Fluxus attitude and distance to traditional art, it’s members were crossing boundaries of narrow specializations with a huge dose of humor. Their statement, that is also reflected in my art: “living art, anti-art…NON ART REALITY to be fully grasped by all peoples, not only critics, dilettantes and professionals.” This is the definition of understanding art for me, and I try to incorporate this spirit into my works.
Out of your recent performances this year, which ones were your favorite.
My favorite performance happened in Vilnius with Kangding Ray during Gaida Contemporary Music Festival last year. I used video materials collected by David throughout 10 years of his performances and travels, I deformed it and forged into set of visuals. Another outstanding show happened this year at Revive Festival in Warsaw, where I was performing with Tommy Four Seven, who delivered a powerful and dynamic show. Tommy’s selection matched very well with dark visuals of my production. When compared to Gaida Festival, which was more on experimental side, this particular performance had an entirely different energy.