Martyna Poznanska
Artist (PO), 1984
 
"To me, silence represents the vulnerability of sound. It is a phenomena parallel to time. It is subjective and possible to depict only in opposition to the presence of sound."

Martyna Poznanska works mostly with sound exploring its environmental aspects, noise within urban habitats, associations
between sounds and objects and performative aspects of listening.

After completing her studies in Spanish linguistics in Krakow, Martyna Poznanska became involved in the Muzykoterapia musical movement emerging in the city. During this time, she began two years of study at the voice laboratory under the singer Olga Szwajgier. In addition, she also participated in workshops with Meredith Monk and a rare performance of the entirety of Cardew's The Great Learning.
 
She moved to London in 2010 to study Sound Art at the LCC (University of the Arts). While there, her research focused upon performative noise reduction possibilities within urban environments, the current offshoots of which are the vocal ensemble performance action 'TubeChoir', and the sound object 'Noise Box'. She led the Sound-Hunting Workshop at The Theatre Laznia Nowa in Krakow.

She has released her debut album Hoarse Whisper in August 2012. Currently she's working on her soundscape installation to be shown at Audio Art Festival in Krakow.

3 questions for Poznanska

What opportunities, qualities or restrictions do you think sound has as an artistic material?

I work with sound because its ephemeral character allows us approach and experience the idea of time, which I consider beautiful and peculiar. It establishes a direct connection, but not always clear semantic communication. Therefore, it requires us to trespass onto another level of perception. In this, listening is always like moving/standing on the thresholds.
The artistic qualities of sound are also its limitations and through this paradox it creates a 'liquidity'.

What does silence represent to you – in generel and in regards to your artistic practice?

To me, silence represents the vulnerability of sound. It is a phenomena parallel to time. It is subjective and possible to depict only in opposition to the presence of sound.

How do you work with the relation between sound and context in your artistic practice?

The work, I am bringing to spor, is an attempt to locate the role of the sound in humans' memory; its capability, limitations and reliability. In my artwork, I concentrate on semantic transmission and weight of sound.




 
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