Coming from Object- and Installation-Arts, Andreas Oldörp is studying the interaction of sound and space since 1985. Since 1988 he is developing sound-installations and -sculptures applying permanent sounds, that form diverse and space-pervading sound-structures. In these works Oldörp is passing on electronic sound-generation, he uses organ-pipes, that are connected by line-systems made of glass or 'singing flames', in which gas-burners provided with either butane or hydrogen cause the sounding vibration of the air-columns in glass-tubes made to measure.
These meticulously designed constructions are neatly geared to the structure of the given architecture, providing visual spacial guidelines to the movement of the spectators, while being the columns of an acoustic architecture. As his basic material Oldörp often uses sound-combinations that are slightly out of tune, thus creating more or less eminent beats varied in speed, that form spacial sound-patterns. While organ-pipes are used to form a rather subtle colouring of spaces, the 'singing flames' being very rich in overtones produce space-filling vigourous textures.
These sound-architectures are highly dependent from the surrounding acoustic conditions. They only unveil themselves while moving in the space. Sometimes it just needs a slight move to enter into a different sphere of the sound-space. Oldörp considers this to be an act of individual mental and physical positioning (Proze§ individueller 'Verortung'). These architectures made of sounds promote the idea of a personal research, that is constantly synchronising outer stimuli with intimate experience.
www.oldoerp.de
These meticulously designed constructions are neatly geared to the structure of the given architecture, providing visual spacial guidelines to the movement of the spectators, while being the columns of an acoustic architecture. As his basic material Oldörp often uses sound-combinations that are slightly out of tune, thus creating more or less eminent beats varied in speed, that form spacial sound-patterns. While organ-pipes are used to form a rather subtle colouring of spaces, the 'singing flames' being very rich in overtones produce space-filling vigourous textures.
These sound-architectures are highly dependent from the surrounding acoustic conditions. They only unveil themselves while moving in the space. Sometimes it just needs a slight move to enter into a different sphere of the sound-space. Oldörp considers this to be an act of individual mental and physical positioning (Proze§ individueller 'Verortung'). These architectures made of sounds promote the idea of a personal research, that is constantly synchronising outer stimuli with intimate experience.
www.oldoerp.de