Guy Goldstein creates analog mechanisms, an assembly line, a system that endeavors to translate sound into color and back again,
a circuit that generates information and at the same time brings about its erosion and deletion. His points of departure are physical theories that divide sound into six types of noises, each named a er a different color in the visible spectrum, each has a different function and represents a different type of information.
The long work process on his drawings and paintings starts with an intensive research and continues with conversions, digitizations, so ware, mechanical and analog devices, and various experiments. He deconstructs and assembles, creates information and repeats it in different ways, translating, converting, and duplicating it time and time again. is repetitiveness causes the translation to lose some of its precision, become blurry as a result of its own production process.
Guy Goldstein’s mechanisms for creating the drawings are part of the process: clocks whose hands are turned into brushes, drills that create fixed patterns on the surface, countless rollers and brushes, duct tape, gluing and duplicating. Nothing gets lost, all are exhausted in full – duct tape is used for a recurring copying, leftover paint is completely squeezed from the roller brush, until something like a long lm of a silent movie is formed, one whose sound we are expected to complete by ourselves. Goldstein’s work strives to find the underlying principles that elude the eye and the ear, invent ways to deal with the noise, with the dirt, and find an opening through which to read what at first appears to be incomprehensible.
