In my sound installations (sound-drawings, Similitudes) I am aiming for an aural equivalent of the visual sensual experience. Knowing that light holds wave properties as does sound, I carry the utopian idea to hear what I am looking at. Since 2006 I have been developing processes and codes to make the translation of visual into aural impressions possible.

To decode a visual image into a musical score I use elements of musical notation as simply another set of drawing marks rendering a likeness of what I see. I do not draw/write notes with specific sounds in mind. I am not a musician but a visual artist, and I do not hear notes. Configurations of different notes positioned on multiple musical staves (using a code I developed), form original music scores, describing and translating in a most visually objective way possible, an appearance of an object, or a view. Then I collaborate with a composer Alistair Noble who translates my music scores into digital sound.

The shape of the object is created using musical notes, with dense groupings of quavers and semi quavers creating the darker tonal values … More complex or detailed parts of the objects are similarly accorded a busier score while less ornate areas are represented by ‘white’ notes of longer duration: minims and semibreves. As a process of image generation it is not dissimilar to typewriter art, an art form popularised by the Concrete poets in the 1950s and with which Wlodarczak has experimented in the past. (Olga Sankey Cinderella II – The Dreamer 2008)