Antti Pussinen (b.1984, Finland) is a multidisciplinary visual and sound artist based in Berlin, Germany. In his artworks he uses analog and digital electronics to recreate impressions of phenomena found in nature and the universe. His latest research explores the boundary between wave physics and real world using sound and waveform imaging. His artworks have been shown in Contemporary art museum Kiasma, Art museums of
Tampere, Jyväskylä, Kuopio, Hyvinkää and Kouvola in Finland; Suomesta Galleria Berlin, Freies Museum Berlin, DOX center for contemporary arts, Prague, Czech Republic and Center for Architecture, New York, USA, and several other venues. Since 2004 he is a founding member of the SWÄG collective, who runs a 2000m2 culture center in an old paper factory in Tampere Finland.
Antti Pussinen (b.1984, Finland) is a multidisciplinary visual and sound artist based in Berlin, Germany. In his artworks he uses analog and digital electronics to recreate impressions of phenomena found in nature and the universe. His latest research explores the boundary between wave physics and real world using sound and waveform imaging. His artworks have been shown in Contemporary art museum Kiasma, Art museums of
Tampere, Jyväskylä, Kuopio, Hyvinkää and Kouvola in Finland; Suomesta Galleria Berlin, Freies Museum Berlin, DOX center for contemporary arts, Prague, Czech Republic and Center for Architecture, New York, USA, and several other venues. Since 2004 he is a founding member of the SWÄG collective, who runs a 2000m2 culture center in an old paper factory in Tampere Finland.
In mathematics and physics, Lissajous curves are graphs that depict oscillation and waves and compare the frequency and intensity of two waves.
In a vacuum, energy travels as electromagnetic waves, as oscillating electric and magnetic fields. The combined, reflective, and other effects of these energies mold our environment and reality, as well as our visual and auditory sensations.
In these pieces, I study the creation of surfaces and shapes that appear to be simultaneously organic and artificial in images generated using wave patterns.
Artworks are Photograms, exposed directly to black and white Fomapan photographic PE paper, using a modified color CRT-tube. The cathode ray (stream of high-energy electrons) is controlled with electronic sound waves, drawing the forms and patterns of the images. The ray passes through a tilted lens, creating variation in the sharpness of the images. The visible “raster” is actually the color-separation grid inside the used CRT tube. The photographic paper is then hand developed in large baths to enable broad black and white dynamics to each image.
All artworks are made during 2018, and are unique originals, and are impossible to reproduce because of the technique used in making them. An attempt to re-expose an image with the same sound would reproduce a different image.
An audiovisual installation where a real-time synthesized soundscape is made visible with modified CRT-tube televisions. The analog audio synthesizers sculpt electricity into waveforms that are played as a sound. The same waveforms also control magnetic fields that bend an electron beam inside the CRT tube. The two-tone signals are used to direct the beam horizontally and vertically, drawing so-called Lissajous Figures onto the screen.
Since the whole process from electricity to sound and the image is analog, it constantly contains small amounts of noise and errors due to, for example, background radiation, magnetic fields, and electricity network fluctuations. Therefore, the artwork is completely time and place-specific.
The process for the artwork started when I was visiting a friend that lives in the middle of the forest in Finland. He told me that he has a powerful laser pen (one that burns eyes faster than we can blink) as self-defense against the suspicious neighbors that live 5 Km away. I told him that I could make him a laser turret robot that he could control wirelessly or over the internet. That idea of conquering the fear of other people by building a laser-shooting robot got stuck in my head, and 3 months later I had my first prototype ready. During the process, I often thought that maybe fear of people is making a dystopian future controlled by killer robots into a realistic scenario.
