Abraham Cruzvillegas works with found materials and the ideas connected with the necessity of use.
Initially as a tool for performance, the sequencer became more diverse in it’s applications, as I experimented with sequencing a range of objects. Using a microcontroller, it can control 12V and 240V mains switching to turn on and off most kinds of electrical devices. Anything that can plug into a wall socket can be sequenced.
Above the sequencer in it’s most basic form with nothing connected. You can hear the relays clicking and see the lights as each channel is activated.
Above a close up of the relays. The aural side of this machine turned out to be quite endearing.
This expression, I understand as a voice. It is the result of a practical function of the equipment, but remains as a signature even when not using the equipment in a practical way.
Using the sequencer to control a hairdryer.
A number of prepared devices form an experiment into how an ensemble would work.
Sequencer with fans. Of all these sketches I feel the fans have the most potential. I have built a circuit that will control multiples of 21 fans, scaling what you see here into a much larger construction. The fans are subtle in sound and have the ability to kiss you with the air. I can imagine all kinds of ways to sculpt using the air surrounding the work as a material.
Since I first saw Gijs Gieskes‘ fan synth i’ve been interested in using fans as an oscillator visually and for audio. This synth uses a basic economy of parts and can be made for free. Power pack, speaker and fan are all throwaway items. Take care of your fingers!
This is a simple sketch that turned out very satisfying in terms of it’s complexity and the physical principals involved. The way the form changes with rotation frequency, almost appearing to turn toward and away from the viewer, was unexpected.
Can your studio materials and objects be a work in itself? Andy Warhol thought so; Enough that he would archive in boxes, a vast range of objects that passed through his life. Perhaps he did this as a practical way of dealing with the huge amount of stuff that he dealt with on a daily basis. The Time Capsules form a collection of 30 years of ephemera.
I’m not so organised in this way, but I still have to find ways of managing a large collection. Generally things form a critical mass, such as the black fans you can see. These will get used up shortly in a larger scale version of the fan sequencer.