Audiovisual Installation. 1ch HD video| 2ch sound. Dimension Variable.
Ichographs MdelP (Madonna del Prato) is a sound and picture artwork that explores the relationships between colors and frequencies. The famous painting of Raffaello “Madonna del Prato” (Madonna of the Meadow) is decomposed into 10,0000 cubic particles each carrying a frequency relevant to its color (HSV hue value). As we move around, we hear the sound of all these colors/frequency generator particles fly in the space towards the canvas to compose the painting. Warm colors (like red) are higher frequencies and cold colors (like blue) are lower frequencies.
Ichographs is a method of creating soundscapes using visual stimulus and the color-frequency transformation. The painting is transformed into the audio domain and back to visual producing a contemporary amalgamation. As we pass through the various color/frequency layers, we investigate the connections between classical aesthetics and the digital practice, revealing a latent version of the old masterpiece. The final artwork is a contemporary amalgamation of the old painting and the modern abstraction methods, a harmonious dialog between the old and the new, the analog and the digital.
Festivals & Exhibitions:
“Ichographs MdelP”was created using Open Frameworks and Pure Data. The image was divided into 10,000 pieces. Each piece was assigned a frequency depending on its color and more specifically its HSV hue value. Warm colors (like red) are higher frequencies (up to 800Hz) and cold colors (like blue) are lower frequencies (down to 50Hz). Other properties of the color like the saturation and the value (again in HSV color representation) are used for defining the dimensions, the position and the speed of the particle.
As the camera moves around we hear the sound that all these 10,000 moving colors/frequency generators are producing. The loudness of each particle is proportional to the distance from viewer. As a result, when we pass over over Madonna’s scarlet dress, we hear the high “red” frequencies; conversely, as it scans fragments of the blue sky, we start hearing the low “blue” frequencies. All the sound data(sound amplitudes) were sent via OSC to a Pure Data patch with a set of 600 sine-wave generators for producing the sound.