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THE TRAIN TRIP at the Drawing Center exhibition Pathay: Drawing In, Out and Through The Landscape, New York, Big Screen Plaza, 2011

THE TRAIN TRIP

left: Gosia Wlodarczak (2010) Animated film: THE TRAIN TRIP, DVD NTSC HD, duration: 7 min 30 sec, aspect ratio 16 : 9, animation, editing, sound, production: Gosia Wlodarczak, photography: Longin Sarnecki.
Soundtrack: SZCZECIN—POZNAN TRAIN TRIP SOUND-DRAWING, duration: 7 min 30 sec, original score: Gosia Wlodarczak; digital realisation: Alistair Noble. Edition 10 + 3A/P

below: Gosia Wlodarczak (2010) THE TRAIN TRIP PANORAMIC STILL/PRINT, detail, archival inkjet print, 20 x 300 cm (click the image to see close-up); bottom: Gosia Wlodarczak (2010) THE TRAIN TRIP ARTIST BOOK /CD & DVD BOOK COVER, concertina, archival inkjet print, 34 x 15 cm

SZCZECIN—POZNAN TRAIN TRIP sound-drawing and an animated film THE TRAIN TRIP belong to my ongoing search for possibilities, methods, and strategies to convert visual perceptions into aural.

In my sound installations (sound-drawings, Similitudes) I am aiming for an aural equivalent of the visual sensual experience. Knowing that light holds wave properties as does sound, I carry the utopian idea to hear what I am looking at. Since 2006 I have been developing processes and codes to make the translation of visual into aural impressions possible.

To decode a visual image into a musical score I use elements of musical notation as simply another set of drawing marks rendering a likeness of what I see. I do not draw/write notes with specific sounds in mind. I am not a musician but a visual artist, and I do not hear notes. Configurations of different notes positioned on multiple musical staves (using a code I developed), form original music scores, describing and translating in a most visually objective way possible, an appearance of an object, or a view. Then I collaborate with a composer Alistair Noble who translates my music scores into digital sound.

The shape of the object is created using musical notes, with dense groupings of quavers and semi quavers creating the darker tonal values ... More complex or detailed parts of the objects are similarly accorded a busier score while less ornate areas are represented by ‘white’ notes of longer duration: minims and semibreves. As a process of image generation it is not dissimilar to typewriter art, an art form popularised by the Concrete poets in the 1950s and with which Wlodarczak has experimented in the past.
(Olga Sankey Cinderella II – The Dreamer 2008)

SZCZECIN—POZNAN TRAIN TRIP sound-drawing is an aural translation of a view along a railroad track I looked at through the train window while traveling from Szczecin to Poznan (in Poland) in spring 2007. This trip takes three hours and connects two places where I used to live. Szczecin is my hometown where my mother, and grandmother still live. Poznan is a city where I studied and lived as an adult until immigrating to Australia. The journey between these two cities is imprinted in my memory - I made it countless times. Nevertheless I find it always a new visual impression. By creating and presenting “Szczecin-Poznan Train Trip Sound-drawing” I hope to unfold new aural dimensions to sensations to be experienced by one’s sense of sight.

Sound-drawings are the origin and key components in my film productions. They are presented as soundtracks for films, film animations, and music CDs
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