I am exploring sonic practices in relation to a conceptual distinction between ‘truth’ and ‘fiction’. To what extent and how can we tell what is ‘true’ or ‘fake’ in what we are hearing? How do we reconcile the unexpected or apparent contradictions? How does our desire for comprehension, trust and predictability shape our sounding and listening?

These questions arise from my wider interest in implications for artistic practices of what I perceive to be a contemporary crisis of trust. The information wars, ‘fake news’ and ‘alternative facts’, convergence of the real-life experiences with their mediated representations employ many techniques comparable to artistic methods and genres. The artists, on the other hand, are increasingly often expected to make ‘socially relevant’ works, which frequently implies channelling normative sentiment — or even pure facts — regarding the popular topics of the public discourse. It’s as if the documentary media is becoming increasingly fictional, while the artists are increasingly assuming the role of ‘truth-tellers’, gradually eating away at the distinction between the two.

At this stage of my explorations, I am making works that are blurring the boundary between the documentation and fiction, assessing emerging methods and their consequences. In sound it often entails my attempts to digitally reproduce ‘real-world’ sounds, to merge field recordings with digitally generated sounds, to combine objects or visual material with sounds originating from somewhere else or making some usually inaudible aspect of the thing audible.

My research is explorative, epistemological, and interpretive, oriented towards artistic affordances and emerging meanings from any encountered objects, sites, and situations. Among my ongoing projects can be mentioned Artificial Ignorance Choir (faking/documenting human speech and animal calls), Territorial Sounding (faking/documenting marking of the territory or over spatialisation practices employing sound) and Sonorous Encounters (exploring sonic affordances of other media than sound, including pairing of objects with ‘true’ or ‘fake’ sounds in relation to what may be deemed characteristic to them).