Self Organizing Still-Life (SOS)
- Sound stimulated, kinetic interactive sculptures
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outdoor interactive sculpture moving to a john coltrane ballad, brussels .play
video of
self organizing still life with stone spheres. play
Musem Ritter, "Bewegung im Quadrat" 2006-7. Permanent Collection.
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kinetic sculpture listening to kronos quartet.
"night of the museums" david fried at Jörg immendorff's düsseldorf
haffen atelier, 2001.
kunstmuseum würzburg: sculpture moving to stravinsky's rites of spring.
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interactive performance play
Video Review / Far from Equilibrium, Gallery Sara Tecchia New York, September 2007
Interactive sculpture CS4, 2007, 52 x 62 x 9 cm. cast stone, mixed media. play
Interactive sculpture BG10, 2007, 53 x 63 x 7,5 cm. granite, mixed media. play
Interactive sculpture CC-2, 2007, 52 x 62 x 9 cm. cast concrete, mixed media. play
Interactive sculpture GG-1, 2008, 157x 127 x 15 cm. Granite, microphone, mixed media. play
Interactive sculpture WM-4, 2008, 157x 127 x 52 cm. Marble, microphone, mixed media. play
Interactive sculpture BGM-1, 2008, 83 x 63 x 52 cm.(with base) Granite, microphone, mixed media. play
Interactive Sculpture Movie Page 2 >>
Self Organizing Still-Life (SOS)
Acoustically stimulated Interactive Sculptures
The Acronym S.O.S implies communication within the trust of an interdependent
social system. Fried has chosen SOS - Self Organizing Still Life, as the working
title for his ongoing series of sound-stimulated interactive kinetic sculptures,
which premiered at Art Berlin in 1998. Since then, his SOS sculptures have
been in numerous solo and group gallery and museum exhibitions in Europe and
the USA.
Whatever the scale or materials used for the SOS, all of these works consist of solid spheres, which are stirred into motion by ambient sound on a predetermined level object. Audible sound is transformed live into waves that silently stimulate each of the spheres into motion. The resulting action of the individual spheres and their interactions with one another are undetermined. They rearrange themselves in continually new patterns of elegantly fluid choreography. Some kiss, some spin off alone, while others race head-on only to meet with a soft embrace, or swerve around one another, often changing the path and destiny of each other without physical contact, as each sphere is able to feel one another.
Fried is able to give an individual character to each of the solid hand-made spheres, allowing them to respond and behave differently to live sound, though the artist is able to give each entire SOS a particular overall tendency of choreographic response. Like two people would dance differently to the same music, the spheres interact in a unique and live choreography directly initiated by its environment. When an acoustic signal is no longer detected, the spheres come to rest in ever-different constellations. (Still-Life)
As we simultaneously influence and trace the movements of the spheres, our attention becomes increasingly focused on the non-linear dynamic relationships that unfold between them, effectively shifting the emphasis away from the individual objects themselves towards a highly subjective glimpse of a bigger picture.
Creating a complex live visual experience, Fried‘s interactive sculptures are compelling by their symbolically provocative simplicity, as the viewer is moved to forge perspectives on relationships, life and the universe of thought.
