Nominated for the Škoda Prize for Contemporary Indian Art 2011, artist NAVIN THOMAS gives Bazaar an insight into the acoustics of his work
Bbthatb angalore-based artist Navin Thomas is categoric in stating
he works with varied materials and approaches,oaches, and only some of it is sound-based. However, it is in the latter niche that he has been nominated for the prestigious Škoda Prize for Contemporary Indian Art 2011. The specific work in question is Don’t stare at the light bulb too brightly, from his exhibition From the Town’s End... A public announcement speaker serenading as a large ultravioletbulb, theartworkisconstructedoutofabig industrialexhaust fan,whichwhenturnedon,attractsnocturnalbutterflies.partofthomas’s ongoing experimentation and innovation with acoustics, the artist lets Bazaar in on what it means to create art in the realm of sound.
What was the idea and concept behind
From thetown’s End…?
A couple of things, which I have been preoccupied with over the last few years includes beta-testing on the possible afterlife of salvaged electronic junk, mostly discarded transistors and smaller objects, with a possible audio capacity. Another one of my pastimes is observing how pets and smaller species react to magnetic fields. For instance, does the electronic doorbell make a contribution to the evolution of newer acoustic ecology? Keeping this in mind, this show was about electro-acoustic ecology (the relationship between individuals and communities living within a sonic magnetic environment, which includes the physical responses or behavioural characteristics of life within it), and magnetic climate.
Describe sound art with reference to your work
Some of my work falls in the realm of acoustic ecology, the influence of built architecture on natural ecosystems. I look for mutation in vocal patterns, birds that sound like doorbells, catfish that can click, and nocturnalbutterfliesthatsqueal.myapproachtoelectro-acousticecology is from an arts perspective —I am just damn curious, that’s all...
How did this fascination begin?
I consider myself as an artist who sometimes works with sound. I was trained in graphic design and cinema; I think I sometimes pursue sound to push myself. To be brutally honest, there really is no idea or concept. I just explore what intrigues me. It certainly dips in the field of acoustic ecology at a surface level, and then after my meddling, resurfaces as art.
What influenced your work in sound art?
My mother and brothers were serious audiophiles.there was a lot of classic German electronic rock in the house like Tangerine Dream, Klaus Schulze, and lots of Kraftwerk; some of the toys were blank tapes. Also, my early pieces were just of family conversations, mostly.
Do your exhibitions always deal in some measure with sound?
My last exhibit in Delhi early last year was a large ultraviolet light structure based on Buckminster Fuller’s geodesic dome, placed on the roof of the Khoj building. It had to do with bio-mimicry and patterns in nature. The ultraviolet light attracted nocturnal insects and then there were two large tanks containing live African catfish from the Yamuna river. People were invited just to observe the phenomenon of artificial light on local ecosystems.
Are there artists within this field you look up to?
Florian Schneider from Kraftwerk. I hope he does succeed in building a perfect android of himself.
Are you excited about the nomination?
My neighbours, who always ignore me, waved out to me today with a very wide smile. All this news of the Prize might have actually done good things for the neighbourhood.