Drawing with Body, Drawing with Sound, 2002 Charcoal on architectural transfer paper, artist's body, sound in collaboration with Stephen Vitiello.
Coutesy of the artist and Diapason Gallery, New York City. Photo: Hermann Feldhaus.
Drawing with Body, Drawing with Sound, 2002 Letter from Stephen Vitiello, New York City.
Dear Monika,
My memory of Ennoia is that it was a pleasure to collaborate,
and that in particular there were two moments where it all seemed to crystallize for me personally.
When we were working on the sound-drawing Rysujˆc Cia¸em, Rysujˆc Dzwikiem (Drawing with Body, Drawing with Sound), there was an instant where I had to pretzel myself over
you with an almost airborne microphone to capture the sound of your pencil closely enough as you were rolling to draw, or drawing to roll. It was just here that I could
understand your technique of drawing as a form of choreography and equally, start to hear the rhythms of your pencil as music.
In our performance marathon (Ennoia,) with the condom-covered microphones in the tank with you, so much was muted but there was a really nice moment of emersion. You came out
of the water with a gasp, which got caught in one of my delay loops and stayed in the feedback for some time after you left the tank.
Both of these were moments where we had been running parallel and doing fine, but were suddenly connected. On the same page I guess you could say. From there, the connections
remained deeper for me. These are more the private thoughts than things that may be overt to the viewer/listener, but thinking about your work, it is just this, the private,
implied passages that I have come to appreciate most.
