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“BLAUWDRUK is the result of a 7-day residency in WORM by L’amour Collective. The collective has made an hour long musical piece based on a graphical score called blauwdruk. The piece will be performed on the 10th of march in WORM. The performance is a collaboration between L’amour and two artists they’ve curated. The art and music will be created/played live, therefore influenced by each other. Expect an interdisciplinary experience where music and visual art meet, intertwine and co-exists.” (WORM, n.d.)  

In this collaboration we created a kind of looping of the organic and the electronic, which became the visual and auditory play for the guests. This is due to the musicians translating a print called ‘blauwdruk’ into a score, the sounds and music they made was translated by Kirsten into a painting made from organic matter, which was recorded live by Emanuel who would translate it back into a digital sound-responsive image which was projected onto the background. This happening altogether was the organic/electronic-play which the visitors would experience. Resulting in a layered experience of an interplay between digital and analogue. 

The entwining of people and methods is what interested Steur to collaborate, seeing this layeredness and collaboration as a fitting link with fungal capacities. Thus, becoming an experimental venture into other realms of working with the Coprinus comatus fungus [see DE-BIRTH], and overall the idea of playing with fungal methodologies in artistic practice.

This project created an opportunity to try to make paint from the shaggy ink cap, as Steur has been interested in prolonging the lifespan of the ink flowing from the caps. The ink that is used in this performance is thus made from the ink and the fibers of this fungus, with the traditional method for making aquarel paints. And just like the fungi’s particles that made up the paint, the performance and everyone present at the time became a temporal connection of hyphae, becoming mycelia ourselves.

The flow of the drawing and the materials that were used for drawing were directly inspired by the sound that the musicians were making. Heavy tones were drawn out with hard materials, such as stones or shells, while soft flowing parts could be done with moss or twigs. Additionally, all elements that made up the overall music had a kind of influence on the drawing; the duration of a tone, the softness or harshness, intensity, fleetingness, repetition, etc. Resulting in a large scroll-like painting, with at some spots visible clues to the material that has been used to paint with sticking to the paper together with the paint. 

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