Judit Eszter Kárpáti
Dissolces Sequences, 2023
cotton, wool, wire, custom electronics 60 x 40 cm
Judit Eszter Kárpáti
FEELER, 2023
Digitally printed textile, galvanized textile, elastic mesh, custom electronics and software Variable dimensions
Feeler /ˈfiːlə/ noun an animal organ such as an antenna / aerial or palp that is used for testing things by touch or for searching. The exhibition explores the heights and depths of the invisible substances around us, where the several meter long sublimated and meticulously pleated soft monolith FEELER, receives and extends out to become an instrument which unveils the spatial quality of LRRH_AERIAL – the tone-of-place, a perceptual space is experienced by the visitors. The soft monolith is tuned with augmented material sensitivity to electromagnetic tides flowing within the space and amplified into audible range. In FEELER, the artists bring attention to the continual flux of energy and vibrant materiality by sculpting the air, combining concepts of space, energy, matter and time into a multisensorial soft sculpture. This self-generating soundscape is autonomous and perpetually modulated by the electromagnetic activity occurring within reach of the monolith’s soft antennae. What is invisible finds its way through.
Judit Eszter Kárpáti
Feeler Blue, Feeler White, 2023
two-tone textile, acrylic 50 cm x 100 cm
“I propose a name for an elsewhere and elsewhen that was, still is, and might yet be: the Chthulucene. The word tentacle comes from the Latin tentaculum, meaning “feeler,” and tentare, meaning “to feel” and “to try”; ... Myriad tentacles will be needed to tell the story of the Chthulucene.” Donna J. Haraway, Staying with the Trouble: Making Kin in the Chthulucene The FEELER series is a statement towards radical tentacular thinking as an intimate embrace of a new materiality, where tissue, textile and fabric serve as excellent models of knowledge. The undeniable holonic interconnectedness of contemporaneity becomes tangible via manifestations of webs and threads, unfurling globally to connect the far reaches of our world, from internet hypercommunication, to vital fungal mycelium networks, to the invisible culture and data structures which we inhabit. Nothing makes itself. We exist and thrive in sympoisesis.
Judit Eszter Kárpáti
Along the Meander, 2022
Digitally printed textile Variable Dimensions
Detail from Along the Meander sound installation. "Along the Meander" is a site-specific installation dedicated to unfolding matter into the sonic domain through a textile sound system. EJTECH's work creates a space for exploring the extended present via electromagnetic air sculptures. A spatial sound setup to invoke invisible geometries of emerging sonic constellations through multichannel compositions. A spatiotemporal opening for encountering entanglement and blurring the duality between subject and object. A tool for weaving sound spaces into existence.
Judit Eszter Kárpáti
XENOPTXY, 2022
xyz plotter systems, custom made augmented canvases, custom built brush heads and electronics, extruded aluminium, motion sensors, synthesizer system, macbook pro, soundcard, quadrophonic sound system 180 x 180 x 80 cm
XENOPTYX is a performative installation creating new image formats which propose to reexamining our understanding of what matter is, considering language and meaning, with its fluid and energetic nature, a dynamic material agency.
Judit Eszter Kárpáti
All Direction Is Curved, All Motion Is Spiral II, 2021
Printed organza, silk, technical textile, CuNi textile, Neodymiun magnets, LED lights, limestone, aluminum extrutions, relays, custom hardware, Organelle, MacBook Pro, MaxMSP Variable Dimensions
All direction is curved, all motion is spiral is an installation that reshapes space by means of performative textiles, spirals, sound and light. Sound is emitted by the textiles, allowing matter to perform itself. The audience experiences this sonorous-textile phenomena in layers of emerging patterns; sound wave constellations materialize in ever changing geometric paths, things made of smaller things, spirals inside spirals.
Judit Eszter Kárpáti
Phase In, Phase Out, 2020
Technical textile, CuNi galvanized textile, aluminum profiles, perforated aluminum sheets, class D amplifiers, aggregated sound cards, neodymium magnets, custom soft to hard cabeling, custom electronics 400 x 150 x 50 cm
Phase In, Phase Out is the result of an art-based study on the crossmodal, employing sound, textile and space as one unified medium. By augmenting textile into a multi channel electroacoustic transducer, EJTECH explores the “alogogenic” properties of sound via the unique timbre of textile, through sound pieces or “electronic poems” specifically written for, and performed on a purely textile-sound system.
Judit Eszter Kárpáti
All Direction Is Curved, All Motion Is Spiral, 2019
5-channel textile (black) 500cm x 150cm, 2-channel textile (white) 150cm x 100cm, 3-channel textile (blue) 1000cm x 75cm, 2-channel Textile (gradient) 250cm x 200cm, 1-channel textile (blue-grey) 100cm x 30cm, 1-channel textile (blue-grey) 80cm x 50cm. Printed organza, silk, technical textile, CuNi textile, Neodymiun magnets, LED lights, limestone, aluminum extrutions, relays, custom hardware, Organelle, MacBook Pro, MaxMSP, variable dimensions Variable
All Direction Is Curved, All Motion Ss Spiral is a site specific installation that reshapes the gallery space by performative means of textiles, spirals, sound and light. Each room is a layer, an agency of mutual constitutions intra-acting. All sound is emitted by the textiles allowing matter to perform itself, unfolding unexplored spatial distances, meditating presence, articulating time, generating a new kind of awareness that reorganizes patterns of behaviour, thus defining a way of sensing and engaging with the environment that hangs at the threshold of consciousness and perception.
Judit Eszter Kárpáti
Draping Sound, 2019
Technical textile, CuNi galvanized textile, class D amplifiers, aggregated sound cards, neodymium magnets, custom soft to hard cabeling, custom electronics Variable dimensions
Draping Sound is an installation and performance centered around the poiesis of time, space and limits of human perception. As sonorous phenomena unfolds, it constitutes spaces, mediates presence and articulates time. Visitors move freely throughout the installation to enable a heightened sensory encounter with diminute variations in correlation to the position of self within the space and the vibrating textiles. This liminal space appears at the threshold of consciousness and perception, unfolding the joint potentials of textile and sound as a spatiotemporal material process. By augmenting textile into a multichannel electroacoustic transducer, Draping Sound explores sonic alogogenic properties via the unique timbre of textile, through sound compositions specifically written for and performed on a purely textile-sound system. The intrinsic materiality and expressivity of textiles, with their sensory-rich haptic experiences, create new methods to interact with and to experience sound. Patterns of high, mid and low range frequency tones sweep across the textile pieces, creating sound and resonating in physical territory.
Judit Eszter Kárpáti
Chromosonic, 2013
Linen, nichrome, dynamic pigment, custom electronics, custom software 200cm x 80cm
Chromosonic reflects on the exponential growth of digitalisation in the physical world. It is an augmented textile structure, an electronic interface, and a sensitive second skin. In a time of screens, which pretend to be immaterial and untactile, we tend to forget that these interfaces are our primary methods and objects of organizing and interacting with the world. The flatness of the screen is materializing within reality, and turned to structure of threads. The screen printed glitches appear on a hand woven, flexible textile. A glitch is a short-lived fault in a system, many times due to mistranslation, or loss of information. Chromosonic contributes to the visualization of acoustics in the space between material research and art. Sound sources generate an electrical charge. This heats the material and the material in turn reacts visually. These processes can be overlaid and manipulated through the haptic interaction of the observer. In this way the material becomes an aesthetic metaphor for the complexity and interaction of systems.