Being an artist has always required a certain commitment to a particular media or theme, right up until the era of the transdisciplinary approach gained its influence. I would certainly consider myself part of a generation of artists who strive for art to transcend the borders of genres and media, and go beyond the singularity of method or message. We live in a time of increasing complexity. Though sound is the main actor in my artistic practice, this particular word "beyond" might perhaps describe the direction I follow in the most accurate way. 

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It cannot be called a goal, since it’s not achievable. But achievements are merely indicators of apparent success in the neoliberal quest. I believe the human subject is always inwardly tempted to move towards something else. As a sound artist, I call this “else” a “sonorous outplace”.

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The concept of "outplace", coined by the French philosopher Alain Badiou, had a huge impact on the way I think and the body of my work in its expanded sonorous form, due to the background that shaped me. 

I am one of those with a complicated biography.

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I was born in Poltava, Ukraine, and studied in Saint-Petersburg, Russia, where I emerged as an artist on the free jazz scene, which I usually consider my true homeland. I left Russia due to the political situation to the only country I could legally stay as an artist with non-stable income and a jew - Israel, where, as you can imagine, I haven’t found peace.

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This cannot but be reflected in my art. The majority of my recent works are informed by these conflicts and carry an anti-war message in varied implications. These days, questioning various forms of belonging has become an ethical and political obligation. And it's not only in the context of war that I would consider myself a poet of exile.

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Yet, just as a person can not be reduced to the place of origin, location or the colour of the skin, my art as well can not be circumscribed by those themes. 

 

Over the years, my research has encompassed various issues, from the questions of form that can speak on its own - these are topics such as politics of frequency, concrete sounds and acousmatic reversal of signifiers, text itself and regimes of signs, that shapes culture, - to the more contextual ones, such as crisis we are dealing with on ecological, existential and socio-political levels, the increasing complexity of the world, and the tensions, that sometimes seems to be everlasting. My main lens is cosmopolitical, with a special interest in perceptual transmutation that may lead to change, and I believe can be achieved through art and philosophy. 

For me, theory executes a role of the scores I engaged in creating in search of a sonorous “outplace”.

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A sonorous “outplace” might be described as an intense abstraction that lies beyond representation, and can not be located or assigned to a land (including that of a concept) - even though any sound or text cites to it - it  resists exact articulation.  The dynamic magnitude of this “beyond” is what concerns me first and foremost.  

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The discoveries I undertake may unfold themselves in the form of audio-visual performance, intermedia installation, sound for cinema, theatre, and animation, experimental game-audio, and radio plays.

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The basic materials that form the backbone of my work appear mostly as various thematic “concrete” sounds, which I aim to transform into a mysterious field of pure becoming, with complex textures, microtonal polyphony, sudden polyrhythmic spasms, and eruptions of silence with its tensions and spells.

 

It’s experimental electroacoustic with a focus on sonic micro-events as artefacts, exposing the nerve of the imaginary.