CARLOS SANDOVAL


 WORK  STATEMENT  ABOUT  CV


MONAS AND TENT VISIONS

SONIC AUTOMATA AND DRAWING SERIES, WIP


MONA 1

MONA 2

MONA 3

MONA 4

MONA 5

MONA 6

MONA 7

WIP WIP WIP WIP WIP WIP

 

 

The series has two roots. The first: a solo journey of 1,600 kilometres through four countries in the spring of 2021 — alone, sleeping in dark forests, no dog, no company. The internal rupture that journey produced is recorded in the Post-COVID Series. What it left behind, in the body, was a new relationship to forest nights and what moves in them. The second root arrived later: ABBA, my dog, and the camping trips we began making together after the lockdown — live drawings in the dark, ABBA sensing what I could not see. First came city tree drawings, then forest drawings at night, then the tent, then ABBA beside it. The Monas and Tent Visions grew from that accumulation — a natural move between one thing and the next.

Enlightenment automata aimed for perfection. They demonstrated that living organisms could be understood as machines by surpassing human precision. Through crude mechanics — an off-center weight, irregular cams — my automata invert that logic: they capture what a perfect mechanism was designed to eliminate: hesitation, vulnerability, the constant tremor of being a living organism. That tremor is also sound. The mechanism doesn't produce movement and then produce sound — it produces both as the same act. Each Mona has its own sonic world, determined by the objects it sets in motion. The question isn't whether the automaton feels — it's why such simple motion, and such simple sound, makes us feel seen.

The automata and the drawings work differently. The automata enact the tremor directly — the mechanism produces it. The drawings do something different: they attempt to follow what ABBA perceived, translating signals I could not access into marks on paper — a translation of something that was never available to me directly, only sensed through him.

Both series are self-portraits — autobiographical objects formed through those forest nights. Unseen nocturnal presences were sensed and pursued by ABBA — an invisible activity that the drawing series attempts to follow. I want to evoke the world as it flickered through his hyper-perception: a realm of nano-signals and silent turbulences beyond human sight. The visions of my dog are my dreams while camping in a tent in the middle of the forest — my cave, my shelter, my house, the uterus.