INTERVIEW Jennifer Kolb
PUBLISHED 25. FEB 2025
// What motivated you to apply for the LICHTROUTEN Open Call? Had you heard of Lüdenscheid or the light art festival before?
I discovered the LICHTROUTEN Open Call through online platforms, and its theme immediately captured my attention. It aligns deeply with the concepts I’m currently exploring—the intangible yet powerful state of energy, and its metaphorical significance in both art and life. Through my artistic research, I delve into the ways energy manifests, how we perceive it, and how it resonates within us. For me, being an artist is not solely about creating; it’s equally about offering my creations to the audience. I actively seek opportunities, open calls, and festivals where I can present my work, and where it can meet an audience that may connect with it in ways I never imagined.
// Where was “Murmuration”, the video work that we will be showing at LICHTROUTEN, created? In your studio? Or in nature?
“Murmuration” is a digital video art piece I created in my home studio, though its inspiration comes from the natural world I constantly observe. My favorite form of meditation is taking long walks through fields or forests—immersing myself in any natural environment rich with textures, sounds, colors, and light.
One day, while visiting my parents in a Ukrainian village, I sat in a field surrounded by tall grasses. Above me, the bright blue sky was alive with swarms of birds, moving as one a vast, shifting cloud of motion. The birds changed direction effortlessly, their synchronized choreography captivating me. This mesmerizing phenomenon stayed with me, and later I learned it was called “murmuration”. The experience left an indelible mark, inspiring the work I’ve created.
// What was the idea behind “Murmuration” and how did you go about it?
In 2020, the pandemic and its regulations confined people to their homes for months, profoundly impacting our mental states. Anxiety, suppressed emotions, and the inability to release built-up energy created a collective sense of suffering, pushing many of us to seek ways to escape and find relief. This work was born in 2021 as a response to that search for mental solace. It is an audio visual meditation, inviting viewers to observe their emotions and thoughts, to dive into their inner world, to explore their minds, and ultimately, to find peace. By watching the fluid movement of forms and listening to the ambient soundscapes, the work offers a space for introspection and calm. Within this concept, the idea of releasing energy, its flow, and choreography merges with my fascination with the movement of bird flocks—a natural phenomenon that became the heartbeat of this visual poetry
// How did the work develop? Did you have a finished script or did you develop the
image material step by step?
The creation process was intricate, and in the first version of the composition, I collaborated with a musician who composed the music specifically for the video. The visuals were built around the rhythm and dynamic changes of the music. However, that version didn’t fully align with my vision—it didn’t serve the concept the way I had hoped. I realized I needed to rethink the sound to match my interpretation of the work. For the revised version, I shifted focus and reimagined the soundscape, drawing from natural associations rather than traditional music. Water drops, ambient sounds, and the sharp crackle of electricity were woven together. This sharp sound, in particular, evokes the sensation of a flock of starlings in flight. The intention wasn’t to have music in the traditional sense, but rather to create a soundscape that complements the visual choreography of the video. It was an intuitive process, where I allowed myself to feel the natural movement of energy and maintain a certain level of abstraction. The sounds became a reflection of the rhythm of nature, guiding the viewer through the shifting forms and textures.
// What software do you work with? What qualities are important to you here?
In my practice, I use TouchDesigner, a powerful software that enables me to create generative animated 3D graphics. This tool offers the freedom to design visuals through algorithms that are processed by the computer in real time, allowing me to present these visuals live. It also provides the ability to sync visuals with sound and make animation elements interactive.
I am drawn to the improvisational nature of live performances, where I can experiment and adapt in the moment. I often collaborate with sound artists, playing my visual compositions on stage, allowing the dynamic relationship between sound and image to unfold in real time. The process feels like a shared creation, with the visuals evolving alongside the sound in away that is uniquely alive and unpredictable.
// How did you develop the sculptural 3D quality of the video work that we will be showing with the LICHTROUTEN?
The core element of this composition is the particle cloud, programmed to mimic the movement of birds. However, this movement is not based on a mathematical model; rather, it is a visual interpretation. It represents my artistic vision of the choreography of a bird flock and the underlying energy that drives it. The fluidity and spontaneity of the particles echo the organic flow and unity found in nature, capturing the essence of motion without relying on precise, scientific structures. This approach allows the piece to express the emotion and rhythm of the birds’ flight, rather than focusing on their exact behavior. Part of “Murmuration” is a soundscape reminiscent of the sounds of flocks of starlings.
// How did you develop this soundscape and what role does the sound play in the video work?
The soundscape is a crucial element in establishing the environment within the composition. I used sound samples, blending them to create specific effects that strike a balance between abstraction and an immersive sense of space and atmosphere. The sounds evoke multiple interpretations—perhaps the sound of starlings flapping their wings in flight, or the sharp crackling of electricity. This layered approach gives the audience the freedom to interpret the composition in their own way. The metaphorical language of the audio-visual work invites the viewer to experience it through the lens of their imagination, offering a personal journey of perception and connection.
// You have been working intensively with sensor-based instruments and computer-generated animations for five years. What motivated you to start doing this? And how has it changed your artistic work?
My journey as an artist has deep roots in digital media. I began with Adobe programs for creating 2D graphics during my studies at the Academy of Arts, while simultaneously developing a strong fascination with theater and live music performances. This passion for the stage led me to create motion designs for music and theater shows, where I could visually enhance the experience. However, my desire for improvisation and experimentation with live musicians pushed me to evolve my practice. When I discovered TouchDesigner, it was a pivotal moment. It allowed me to move beyond prerecorded animations, offering the freedom to create generative, live-played visuals. With this software, I could design interactive visual systems that react to sound signals, connecting different data sources like sensor-based instruments—to generate, manipulate, and trigger visual forms in real time. Now, I can perform live, directly interacting with musicians’ instruments, improvising during DJ sets by blending prerecorded loops with live-generated geometry, and even syncing visuals to dancers’ body movements. This level of creative freedom is exactly what I had been searching for in my artistic journey, and it’s become a key aspect of my practice.
// Our theme is “New Energies”. How do you see your work in this context?
The theme of New Energies carries a wealth of meanings—poetic, spiritual, ecological, social and others. I am particularly drawn to exploring the metaphysical understanding of energy. Energy, as we know, is neither created nor destroyed; it simply takes on different forms. In my work, I reflect on this fluidity, experimenting with how energy manifests and how we interpret it.
Energy is never static; it’s in constant motion. It moves, transforms, and dances in the choreography of particles, composing intricate patterns across space. The source of this energy is existence itself—life continuously generates energy through movement. As in Buddhist philosophy, this life force flows endlessly, propelling everything to move, grow, change, and evolve. When we engage with energy, it doesn’t vanish; it shifts from one form to another, cycling through various states. This dynamic transformation, the perpetual flow of energy, is what I aim to capture in my work, where the essence of life is expressed through the ever-changing patterns of energy in motion.
// And a more philosophical question: How do you see the relationship between art and society?
I believe there is a direct link between the evolution of art and the changes within society. Artists are not isolated from the world around them; they are deeply embedded in the processes, struggles, and crises that society goes through. In many ways, art serves as a mirror, reflecting the shifts in the global landscape. Take, for example, the early 20th century. After the First World War, we witnessed a significant transformation in the art world. The Dada movement emerged as a response to the horrors of war, challenging conventional norms and rejecting traditional aesthetics. It was a direct reaction to the devastation and societal upheaval that Europe had just endured. Every major societal shift or crisis—whether political, environmental, or social—finds its expression in art. The tensions, hopes, and disruptions of the time are captured through the creative lens, offering insight into the collective psyche of that moment. Art does not exist in a vacuum; it evolves as society does.
// What are you looking forward to next?
This year, I’m excited to explore the intersection of art and science by conducting research on how audio-visual experiences influence the human brain. My goal is to collaborate with neuroscientists to develop an art project that is rooted in this research, exploring how sensory stimuli—sound and visuals—affect cognition, emotions, and perception. I’m currently in the process of seeking opportunities and partnerships to bring this project to life. It’s a fascinating and ambitious endeavor, one that blends creativity with scientific inquiry, and I’m eager to see how these fields can complement and enhance each other. The possibilities for discovery and innovation are endless, and I look forward to the process of collaboration and exploration.