Interview with Jens-Oliver Gasde, CGA Artist (Computer generated animations artist)

Jens-Oliver Gasde was born in Erlangen in 1971. He studied art and media at the University of Art and Design Halle – Burg Giebichenstein as well as the University of Art and Design Helsinki. Since 2001 he has worked on a freelance basis on different projects. Noises for Ritual Architecture is the first time is has been involved in an international culture project.

Tobias Ruderer: In terms of their visual impact, the ritual architectures for cleansing that Mike Meiré has created are very well elaborated and concrete indeed. I n your work developing the animations, to what extent did you sense that you were subject to a risk of repetition or duplication?

JG: I think this was a danger that was already precluded in the original project draft by Mike Meiré. Specifying the material I worked with – the basic geometric shapes and light in its myriad effects – paved the way to another form of representation. Naturally, the element of movement is specifically new: interestingly, the Spanish architect Santiago Calatrava describes architecture as 'frozen movement'. In this spirit, with my animations I was trying to re-release the kinetic energy of the three bathroom architectures – trying to create a ‘re-animation’, in effect.

TR: You were also working from a second point of departure: the music of Carlo Peters. How did this music figure into your own work?

JG: Actually, it was the spatial quality of the music of Carlo Peters that first opened the door to the worlds of the Noises. My objective was to come up with a visual interpretation of these worlds. In the course of my work, a self-contained thrust then crystallised out of this for each of the three themes: light (for MEM), movement (for Logic) and material (for Elemental).

TR: What is the function of your animations within the framework of the Sound Spa?

JG: First of all, in a very straightforward sense, the expansion of the acoustic world into the visual world: the visitor looks up through an enormous ceiling window and into an infinite space, into an unreal yet very sensuous world. This is accompanied by a slight departure from the patterns of perception that usually dominate in the everyday setting. At some point, this also became indispensable for my own work: I most preferred to work on the animations during the early morning hours. This time of day was best suited to the aspect of deceleration inherent to the Ritual Architectures.