Jockel Liess graduated with an MMus in Studio Composition from the Electronic Music Studio at Goldsmiths University of London in 2012 and an BA(hons) in Fine Art from Byam Shaw School of Art in 2000. He currently lives and works in London. Jockel exhibits his large-scale audiovisual installations and compositions in gallery environments, as well as in festivals and concerts nationally and internationally. In addition to his solo work, he collaborates on a variety of projects with other artists, musicians and filmmakers.
Jockel Liess creates generative audio-visual compositions, which in its form and structure derive from artistic traditions of visual and musical minimalism. In his mainly abstract work, he explores ideas of microtonality, structural composition, synesthesia and interconnected sound/image relations.
As a fundamental principle, the non-durational compositions employ the notion of a continuous audio/visual environment. The time-based work has no clear beginning, end, or in the traditional sense progression, but rather relies on the listener’s focus of attention. In its internal structure, the work refers to the organic flexibility of nature, and can in its implementation be seen as a form of organic composition. The tightly controlled theoretical concepts of the individual pieces, thus allow for the surrender of artistic decision-making to chance and indeterminacy as a basis of any visual and acoustic development.
In his most recent interest and research focus, Jockel creates generative computer systems with the ability to live improvise his audio-visual work. Based on the underlying principles of chaos theory and swarm intelligence, these artificial environments aim to recreate the unpredictable self-similarity of the natural world. The mimicking of nature by the artistic construct is thus a further move away from a static representation of the artistic vision and towards a fluid and organic model.
Sculptural characteristics of the often site-specific works are composed to enhance and focus the experience of the time-based components into the surrounding environment, and to invite the viewer into the work, by eroding the boundaries between the audience and the installation.