Falling in Sydney art week, this month long installation met a large and enthusiastic crowd over the weeks.

Sonic Network no. 13 presents a shifting sound and visual experience, initiated by the interplay of Aslanidis’ optical painting and May’s immersive soundscape .

The painting, Sonic Network no. 13, contains a grid relative to a set of mathematical intervals that Aslanidis uses to create a drawing of compositional intervals, similar to a musical score. May has written an algorithm—using a programming language for sound synthesis, called “SuperCollider”—that determines the characteristics and timing of the sound in relation to the intervals. Taking into consideration the structure and composition of the painting, May emulates the mechanisms of painting by responding to the moiré (wave-like) patterns, which are demonstrated via audio interference of the sine waves (known as beat frequencies) in the sound piece. The sine wave tones created are thus audio representations of the circular forms, geometric shapes, and reverberating patterns inherent within Aslanidis’ piece.

John Aslanidis has collaborated with Brian May recently on a number of exhibitions: Sonic Network No. 12 at Gallerie Kai Hilgemann Berlin (Aug 2013), Sonic Network no. 8 at Melbourne arts centre The Substation (Nov, 2012), Sonic Network no. 9 at dr Julius–ap in Berlin (Oct 2011), at White Box in New York City (Mar 2012) and also at Kunsthalle Beacon (NY). Aslanidis has also recently completed a large scale painting commissioned by the Arts Centre Melbourne, Sonic Network no. 11 (2012) for the Hamer Hall. Sonic Network No. 11 features a special composition by Brian May, which can be heard in conjunction with viewing the painting.