Mark von Rosenstiel is a multi-disciplinary artist using mathematical algorithms that interact with and explore human relationships and emotions. Through feedback loops and technology he strives to reveal the middle ground people occupy — the undeniably human place where truth is agonizingly close, but never touched. Mark’s site specific installations create internalized representations of the human experience that explore the boundary between observation and participation.
Mark’s work has been featured in galleries across the globe, from Seattle to Bangkok. He lectures on ideas of incompleteness, randomness, and scale variance in relation to art practice and the potential to discover truths by creative means.
I’ve recently been reading Science and Hypothesis by Henri Poincare. In his writing about the evidence of geometry, he talks about our awareness of muscle movements (both our eyes and body) that result in the objects within our visual field deforming (i.e. their perspective is changed). He argues that these deformations that we witness, in conjunction with the subconscious awareness of our bodies movement in relationship to these objects, gives us the ability to deduce the construction and geometry of solid objects. I started reading his work because I have for a long time been fascinated with internal and external perspectives, and how we relate ourselves (the internal Self) to an external world view.
The phrase that spearheads the direction of work I would like to investigate is Sound As Substance. I would like to explore how we create context for sound in environments where the sound has no source that relates to previous experience. Poincare talks about how we use our bodies movement in space to ascertain the geometry of solid objects, and I’d like to take that idea conceptually further and look at our internal/external spaces in relationship to the constructed sound of our environment and how we then contextualize those sounds.
To do this I would like to explore making simple machines that create very basic soundscapes that immerse and interact with the viewer. The physical construction I see as giant wooden nests, or groves of artificial trees, with computer driven hammers that knock on them. The soundscapes would be self-organizing, in that they would use mathematical algorithms derived from flocking, nesting, or cellular behavior. I would then explore how these soundscapes could bend and alter based on a persons immersion in them and play with how to make the viewer contextualize and take on the experience in an internal way.
2008 – 2009
New England Complex Systems Institute (NECSI), Boston, United States
Complex Physical, Biological and Social Systems in
2002 – 2002
Maryland Institute College of Art, Baltimore, United States
2000 – 2005
Johns Hopkins University, Baltimore, United States
If only there were a place just quiet and bright, that also smelled good, Kostka Gallery, Prague, Czech Republic
Things I was meant to have said yesterday, Glassbox Gallery, Seattle, United States Considerations of This Future. This Future. This Future, gOc Studios, Seattle, United States
Enigma Machine, Bumbershoot, Seattle, United States I Want All of This. All of This I Want, [storefront], Seattle, United States This time we see, this time we feel, H Gallery, Bangkok, Thailand
We turn our heads toward the light (or wander aimlessly in the dark), Olson Kundig Architects, Seattle, United States
Prescriptions for Awe and Wonder, Graypants, Seattle, United States
Meet Factory Open Studios, Meet Factory, Prague, Czech Republic
Neighbors, Vermillion Gallery, Seattle, United States
AQB Artist-in-Residence Program, Artist Quarter Budapest, Budapest, Hungary
Meet Factory AiR program, Meet Factory, Prague, Czech Republic
AWARDS AND GRANTS
Residency Program Funds
The New Foundation, Seattle, United States
Foundation for Contemporary Arts, NYC, United States
Seiko Recraft Campaign, NYC, United States
Finalist, Pike Place Market Waterfront Entrance Project
Pike Place Historical Society, Seattle, United States
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