Luc Messinezis's career as a sound artist began right after his graduation from the London College of Communication as an MA in Sound Arts. Coming from a scientific background (Chemical Engineering), he pursued a change of direction due to his deep interest in sound as an artistic medium.

During the course of his post graduate education he had the opportunity to interact with artists and researchers such as John Whynne, Peter Cusack, Salome Voegelin, Angus Carlayle, Cathy Lane, David Toop and others who proved to be a great influence on his practice.

At the first footsteps as an artist as well as a researcher, Luc focused on concrete sound and the term of the Object Sonore; a term introduced by composer and artist Pierre Schafer in an effort to define concrete music and the acousmatic situation. Inspired by his definitions he proposed ways so that sonorous objects can be treated in the same way a visual artist uses tangible objects in order to create a spatial composition. The outcome of this research materialized as an installation called Wunderkammer: The Sound Cabinet of Curiosities and a lecture given on the subject at the School of Media of LCC.

In 2010 Messinezis was awarded with an artist's residency in the town of Krems in Austria and was asked to develop original sound artworks. As a result he designed an installation based on his original research called Sonic Garbage and the SoundMark series which is collection of distinguished aural events unique to specific locations and timeframes.
Recently the sound sculptures Eavesdropping: Crisis, Of Dignity and Rights and the installation Forest in a Forest have been exhibited around the world in countries such as Greece, Israel and Canada all dealing with the attributes of concrete sound and its reflection on every day life. These artworks aimed to stimulate the individual's perception of space, time and memory transforming the listener into the medium of the message.

Recently Luc's practice has been drawing upon the relationship between philosophy and sound arts practices. His current research is based on the way listening acts as an outward gesture of establishing existence, by exploring the existentialist doctrine and its relationship to art. Part of this research was presented in a paper called Audiopsy Jerusalem: An existentialist approach to exploiting the soundscape for artistic purposes at the Global Composition 2012 world soundscape conference in Dieburg, Germany.
Sound sculpture, electro-acoustic/concrete composition, performance, audio-visual works and sound installations are a few of the ways Luc uses to explore the attributes of sound and its aesthetic/acousmatic qualities within a contemporary art context.
Luc’s conceptual interests mainly focus in triggering feelings, aural awareness, and memory by challenging perception and stimulating the imagination of the audience, using the concrete audible world as his creative palette.

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