Topic: The Sound Series
McD: You like referring to your work as painting. Does that apply also to the series of Songs?
MK: The voices are original sound documents and are therefore not obviously related to a common idea of painting. The gradual slowdown of these voices lead off from a known path and evoke a strongly visual, imaginative space. The transformation of sound and sound samples, the arrangement into many layers, the mixing into different tunes, the creating of a new environment – has dimensions of the act of painting.
I see sound – visually – especially since I experienced sound as a substitute of the visual in a road accident where I lost (visual) consciousness.
McD: The original soundtracks act as a guidance to a new environment?
MK: Original means that we regard this sound as a mirror of the real. With the gradual slowdown and its changing into other spheres, our imagination tries to hold on to the real. The changes are so severe, that the imagination stirs up pictures of our own experience to provide a reality related image of this transformed environment.
McD: A journey from real to fiction?
MK: I would not call it fiction. With the start in the real it is a journey to a source of own reality related sensations.
McD: A journey guided to certain sensations?
MK: As in other of my works the process of time stretch is to intensify a moment and find in the transformation a new value, a new essence (hesitates). As wounded, as carrier of the impact of the contemporary, I do what nature does; to improve my abilities – to interpret my environment in order to adjust and grow, to broaden my imaginative strength. To decipher particles of speed to map out the space of the volatile (as science deciphers particles in matter). The volatile as a continuation of matter.
McD: With the series Flux you deal with water, with nature. Why in Songs you use soundtracks of political issues?
MK: With Flux I advanced the topic of water not only as a way of treating a symbol of the volatile. Water is a global function in a process – of nature – the fate of human life. I approach the political issues in that regard; as nature. As a process. The Songs are models, patterns. As vermin can be regarded as an important part of a function in natures process. The voices in Songs have been peeled off from their momentary connection to world events. They are assigned with fundamental functions in human history. They are therefore freed from any rating. And transformed to, (considers) simple vermin (laughs).
McD: Your protagonists are decelerated vermin?
MK: The example of vermin I meant as an iconographic reduction. But yes; they are decelerated. They are driven to a different entity, to a different environment. They sway – between beneficial organisms and vermin. As everything.