KIEŁPINY/WAWROWICE, 2020


A 21 minute piece designed for seamless looping, composed of various field recordings made in high season of 2020 in two small summer villages/resorts near Nowe Miasto Lubawskie. A part of group exhibition Nowe Ciepło: Gospodarstwa bez ziemi, organised by Fundacja Wybudowania and curated by Tytus Szabelski and Marcin Zalewski. Presented together with photographs taken in those two villages. 




PING PONG AMPLIFIED, 2017


A soundart instalation/performance, curated by Konrad Smoleński and Ewa Borysiewicz as a part of Warsaw Gallery Weekend 2017, recorded live in Instytut Adama Mickiewicza in Warsaw on 22/09/2017. Together with Michał Turowski, we performed for few hours straight, taking the source signal from the amplified ping-pong table set in the middle of the room, free for the guests to play. We processed the sounds and used them as framework for improvised compositions. A digital album contains five excerpts. 






STAAT / THEATRE MUSIC, 2017


Composition of ambient and drone music mixed with field recordings, microsamples and prepared electrical guitar, written and recorded especially for the performative reading of "Śmierć człowieka wiewiórki", a drama on RAF and Ulrike Meinhof, directed by Agata Koszulińska in The Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw.

Excerpt:





THE FUNNY THING WITH DEAD PEOPLE IS THAT WHILE YOU’RE GETTING OLDER, THEY’RE ALWAYS THE SAME AGE, 2017


Documentation of a sound installation presented during Unigeo Festival 2017, mixed with source track. Field recordings, ambient layers and prepared guitar used in source piece were recorded in late summer of 2016, while I was coping with a sudden death of my close relative.

The room is narrow and completely dark, and there are two guitar amps set back to back in the middle. Ambient track, composed of cut-up field recordings and instrumental parts is being played on a loop from a cassette dictaphone through a guitar amp, then picked up by a microphone, processed through fx beyond recognition, and played through the second one, facing the entrance. One has to pass the wall of loud noise at the enterance to discover the true nature of the sound.