Vertical on both sides + Additional digital re-composition of the piece.

Low probability

Photography is an expression of a metamorphosis: from the initial showing people who have simply appeared before the lens to presenting all they might be(come), only if we consider all the layers and fluidity of the outer identities.  It sometimes distorts meanings only to decode them from another angle; sometimes it disperses outer identities so it could rebuild them from the inside. At other times, it camouflages or over exaggerates certain individual elements in order to point to the whole or, on the contrary, to confront us with its absence.

Human Segments

"Nodos" is a reflection about the influence of our ancestors in the construction of our personal identity and memory’s roll. the way we narrate ourselves and how our family’s story is esencial to the construction of who we are. A node is a point of union, interrelation and connection used in different disciplines. Based on the links generated between my grandmother, my mother and myself, I investigated these relationships that were created. How much of our ancestors are in us? 

The coordinates of this journey are the family album photographs, a childhood drawing or an X-ray. With this map I travel through the family history. Reconstructing my own history means interpreting it, altering it and creating it with my experiences and perceptions, using the stories I have been told, those I have heard or those I have imagined from the documents I have received.

Going through their fears and dreams, analyzing their gestures or reviewing their lives allows me to break through the barriers that adopting the role of a granddaughter or daughter implies. It is the exercise of putting all three on the same level in order to connect and empathize in a different way than I have done up to now. Therefore, Nodos is a journey to the past with a view to the future, because it is the attempt to draw a generational map where distances are narrowed and these three generations and those that follow are put on the same temporal and personal dimensions.


Nodos

“Poles No. 14”; Acrylic on canvas; 43 1/4” x 42 3/4”

"Poles No.14"

"Fragments of Self" is my latest new self-portrait series, which is a very personal introspection of my thoughts and feelings, but at the same time, it is also a general exploration of the Self and all of its subconscious layers. 
I often like to incorporate floral motives in my work since I find they symbolize rebirth, creation, and metamorphosis, which are the main parts of our identity. 

Fragments of Self

“Stones” shows the results of various journeys and walks on which stones where collected. Driven by intuition and Gromoll’s sense of natural beauty these particular objects displayed a true sense of individuality.
The act of balancing each stone on a single nail elevates them beyond their material presence, becoming entities who act as guides in this newly arisen landscape. Only with attention to ones surroundings and light footing will visitors be able to navigate this delicate world.

Stones

video stopmotion, sound, dimension variable, projection on white wall, 16:40, 2019
This work has been produced during a residency at the National Center for Contemporary Arts in Saint Petersburg, Russia, 2019.

"Like a fanatic who swallows the desert, I require from music the desert. The desert of colors. The desert of words." said Malevich. Presented as a mental map, "Desert" is made from photographs of rectangles painted on building walls, known as "buffs" in Russia. Their primary function is to hide undesirable words.

The images scroll to the rhythm of a tick-tock recorded in St. Petersburg, where they were also taken. During the Second World War, the streets were wired with loudspeakers to warn citizens of bombings. Between attacks, time was materialized by the ticking of the metronome, intended to appease the popu- lation. Today, this sound is regularly broad- cast for a short period of time to test the loudspeakers.

Desert

Balconing
a series of photocollages presenting isolated elements of modernist architecture.
Diverse material and size.

"Balconing", which is the act of jumping from a balcony into a pool, suggests here the idea of activating the fixed elements that appear in the images.


Installation views in different places:
Galerie Weisser Elefant, Berlin
Retramp gallery, Berlin
Element.a project, Berlin

Balconing

Artwork inspired from the pictorialist movement.

Walking Brutus

In "Secret Block", a tribute to Joseph Beuys, the audience take part in a group rite whose symbolic features bring out a magic, primordial, almost sacred quality. Various objects and materials are strewn about a space that resembles the inside of a cave. Through headphones the visitor is given instructions and information by which to interact with them. The idea of a hearth is conjured up by electric plates, while a voice-over speaking of real objects and imaginary sculptures triggers a vision of the invisible as the culmination of a process by which the senses are reconfigured.

Hannes Egger
Secret Block
different objects, headphones, audio track (sound design: Lale Rodgarkia-Dara) 09’46”
2018
Photo: Roberta Segata

Secret Block

The Electric Knife Orchestra

Razor blade

Struktura (Structure in Russian) is an on-going series of abstract art in monochrome.  It came out as internal reflection on the structured chaos of constant information overload we are experiencing nowadays. We are forced to dig through myriads of visual,  audial, textual voices. We take individual paths of structuring that informational mayhem. These paths form subliminal perception of the world’s hum.  In the series I am trying to make a freeze-frame visualisation of this process.

Struktura, 2020

We are so humbled to introduce you all to vōx, a Musician and Visual Artist living in L.A. vōx will be chatting to us today about her new E.P This Body,  the effect on working during a pandemic and the importance in finding peace.

Original Magazine: Hello vōx!  Tell us a bit about yourself!  Where are you based and what are you currently working on?

 vōx: Hello Original Magazine. My name is vōx (pronounced 'wokes', the latin word for voice). I'm a musician and visual artist living in LA. I just released my new EP This Body.

O.M: How would you describe your art? There appears to be emotional motifs throughout your art and performances. Are these emotions stemmed from personal experiences throughout your life?

vōx: Definitely. All of my art is very personal. I began songwriting at a young age when I hadn't yet learned how to express my emotions in a healthy way, and so it's always helped me work through what I'm feeling.

O.M: Have you always wanted to be an artist? Was there a point in your life where you didn’t know what journey you were embarking on? 

vōx: I think I still often don't know what journey I'm embarking on! But I've always wanted to be an artist. I think aspirations are important for growth, but even more important is being open to growing in ways you've never expected.

O.M: Your E.P has recently been released (Congratulations, we’re big fans!) how was the creative process for you? It’s a hard time for musicians and performers at the moment due to the pandemic, has this had an impact on you and the way you work?

 vōx: Thank you! I actually wrote and finalized many of the songs in October 2019, and that November I went to Toronto to complete the production with my longtime collaborator Alexander Vincent. 

The pandemic has had a huge impact on the way I work. There are positives and negatives. Obviously, the most depressing part is losing the ability to perform in real life. It's important to remember that for most musicians live shows are the majority of their income. Especially artists like me who aren't yet on a big level! Many musicians lost all of their income this year, myself included. 

On the upside, having so much time at home is unusual for me. I'm often traveling 75% of the year, which I do love. I've gotten back into a quieter headspace with the downtime though, and I'm writing more songs than I have since I was a teenager! 

O.M: After viewing your OnlyFans page, we can see that you use this in a very unique way, what made you want to use OnlyFans to showcase your art?

vōx: I'm certainly not alone in being frustrated with the ways social media both helps and hinders artists. Platforms like Instagram are a sort of evil necessity these days, and growing an audience on them that you then can only reach by paying for ads is the norm. I've been dreaming for a while of a platform where I could commune with my audience without restrictions and in a way that gives both of us a deeper sense of connection. My followers on OnlyFans don't have to worry about algorithms showing only some (if any!) of my posts to them or censorship deleting the content that feels most free and true to me as an artist.

O.M: We were lucky enough to see you perform in ROBERTSWOOD presentation during London Fashion Week last year, how did this opportunity come about? Has modelling always been a part of your artistry?

vōx: Our connection was so fortuitous! I reached out to them once I knew I would be at LFW, and we found we held a lot of the same reasons for creating our art and were touching similar topics. 

I've loved modelling since I was a teenager, but I struggled with low self esteem and a lot of anxiety, so I spent quite a bit of my time taking self portraits. It wasn't until my late twenties that I gained enough confidence to start posing in front of other people's cameras.

O.M: And finally, if you could offer one piece of advice to any aspiring musician especially going through this pandemic, what would it be?

vōx: A key for me is finding peace in the place I am now instead of being frustrated with the things I'm no longer allowed to do. It's not an easy thing to do! Mindfulness can help since it brings you back into the present moment where gratitude lives. It's also been a prime time to figure out what things really matter to me and, for me as an artist, to work on disconnecting my self worth from the things I make. 

Thank you so much for chatting to us! vōx’s new E.P This body  is out now!! ������

Interview with Musician and Visual Artist vōx

Within a diaframe the decelerated proces of a decaying flower is contained. Over a period of time we may encounter this very same flower at different stages. One of these moments is captured in a still, enlarged and illuminated in order to depict & enhance its beauty and fragile nature.


Flower

This serie explore the land with stones and vegetation.
The first action was to immerse myself in quarries and uninhabited places before to take pictures.
After this, I worked on my images in darkroom. My rule was to not transform the image in a digital form. I didn’t wanted to transform the analogue quality like the grain. I also wished to keep the materiality in photography.

Then, I selected some parts in the films to enlarge it. Those enlargements relate to my experience in the environment; my perception in the visited places just as the sensibility felt in the space.
Finally, the work is presented in many different form. On one hand, there is the originals prints on matt baryta paper. On the other hand, the images are projected on large format to increase the immersion to the viewers.

The images are extracted and created from 3 original analog prints. 

LAND

Pods explores the surreal . Placed in flooded sand pits in Horsell common. The sand pits were the inspiration for H.G. Wells sci-fi book the war of the worlds and the place where his space ship landed . These pods are cast in aluminium resin , there organic bodily forms resembling surreal seed pods. Each po 50cm x 50cm . Steel supports varied heights max 180cm

Pods, Installation Horsell Common, Woking UK.

The Legend of Okjökull is a large scale painting, 72 x 120 inches (183 x 305 cm). Okjökull was an glacier in Iceland, but declared dead in 2014 by Oddur Sigurosson, one of the country’s leading glaciologists. The site is now marked with a plaque that warns “In the next 200 years all our glaciers are expected to follow the same path.” It is Iceland’s first glacier lost to climate change. The painting is based on NASA’s September 14, 1986 arial photograph of the glacier. My goal was to turn the image into a sign of warning and a monument to the glaciers’ past majesty. With this in mind, I selected the color yellow to signify instability, caution, and sickness, while painting the Okjökull purple, a majestic color of nobility, dignity, and grandeur. 

The Legend Of Okjökull

'The Host' is a character I created specifically for my Degree Show. It was supposed to walk around interacting with the audience and other artists' pieces during the opening night - almost in a Disneyland-like way. Unfortunately, I was only able to wear it for a photoshoot with Johann Kööp. All photos are credited to him.

'the host' (2020)

Performance, 2019

35 minute performance incorporating an improvised vocal soundtrack.
I first created a white painting surface by rolling out paper on the stage.
I then changed into an all white outfit and donned a light blonde wig.
With a brush and black paint I sketched a large circle, I then began
painting the circle with my wig. Once the circle was complete I spoke
the words “no dignity in death” into a microphone connected to a delay
pedal. I stood in the center looking out into the audience as my words
slowly faded out over 3 minutes.


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