Interlude: “Where are the creatures? Dead frogs here…” 2025
Wave Purple-Blue 2025
exhibited at Supermarket 2025 with isgisgisgisgisgisgisgisgisg.com
An interlude is a breath between moments, a threshold — a suspension before resumption. In the digital realm, it lingers in the spaces between input and response, in the subtle hesitations of a system, in the blinking cursor awaiting command. It is a rupture, a break in continuity, a ripple in the ceaseless data stream. In these suspended moments, sound hovers in latency, information gathers before surfacing, and a liminal space unfolds where sound and virtual waves meet in resonance. These pauses, these delays, these instants of waiting, shape our digital awareness.
The binaural headphone diffusion explores sound as the living memory of digital movement—a choreography of recordings, repetitions, and electronic alterations. The structure of input and output layers: sonic breaks dissolving, echoes of sound entangled with spoken words. The score unfolds as a sonic traversal, exploring pauses and transitions embedded in digital listening. A sampled Italian female voice appears alongside a breathing-like sound and an expanding luminous tone. Shifting frequencies and an overarching sense of media—or being in a digital-virtual space—further define its texture. The interface becomes an interwoven, absorbent repository—a stack where sound is not fixed but continuously reshaped, composing digital time.
With a sense of curiosity, the voice says: Where are the creatures? Dead frogs here... Frogs recall the Pepe the Frog meme, once widely used in online communities before being co-opted by nationalist and populist movements. The phrase dead frogs here…could suggest a subversion of meaning—perhaps assigning value if the frogs are seen as undesirable—but it may just as easily be a simple reference to nature.
In Wave Purple-BlueI I have used Blender software to sculpt digital subjects, imbuing 3D simulations with touch sensitivity. The series printed on silk explores computer-generated water wave meshing and shading patterns found in 3D rendering. By enlarging and isolating these elements, the work exposes the algorithmic logic behind digital surfaces—their responsiveness to light and camera—prompting a reflection on how computational processes shape our perception of reality.