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Flux : The TerryMansfield Fashion Publication Award_ Zoe Robertson-Tingle GFW23

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FLUX

by definition is the movement of any

substance through an area per unit of time .

If something is in a state of flux, it is

constantly changing.

The world is currently in an incredibly

rapid state of Flux. Big shift changes are

happening and this uncertainty can be hard

to deal with.

Breaking down the Flux equation, this

publication creates connections between

the physical law of Flux and the human

reaction to change. Through a series of

interviews we learn the influence of Flux in

creative process and how the arts can be a

coping mechanism for change.

Ask yourself, what is your current

relationship with change?



FLOW PG 09

LIGHT PG 27

VELOCITY PG 43

VOLUME PG 55



Q = V t


FLUXFOCUS_

8

[FLOW]

THE MOVEMENT

OF WATER, AIR

THROUGH A

SPACE

Q = V t

In the context of Flux, Flow is described as

the movement of air and water through a

space. This chapter is focused on the fluidity

and flow of water.

For me water is a form of escapism, in many

forms, with a particular affinity for rain and

naturally occurring bodies of water.

When submerged in water sounds are

muffled and warped, light is refracted; you

become weightless, This chapter explores

this feeling accompanied by an interview with

fine artist Amelia Mullins who incorporates

flow into her multidisciplinary creative

practice.


9



11



13



15



17


18

Creative flow allows scope to work intuitively; think

conceptually and let go of artistic ego when it

comes to production of artworks. Those who define

themselves as multidisciplinary artists posses this

ability to flow and integrate between mediums;

creating continuity between contrasting materials.

Amelia Mullins is an interdisciplinary artist, creating

connections between art, design, textiles and

painting. Committed to sharing knowledge and

encouraging conceptual ideas within students and

young creatives we explore how her personal work

has developed throughout her career and how

change and challenge can be seen in her treatment

of material.

ZRT : How do you define yourself and your creative practice?

AM: I used to work in a really painful way. I wanted

to be really meticulous and photo-real even in my

drawings and I think I spent a really long time not

really feeling satisfied and feeling quite pained by

the work I did and. It was not until I started actually

working commercially where you don’t have time

to think and you were just kind of feeling things

and just trusting your instincts that I found that I

became much happier in my practise and it stopped

me from caring so much about what people think,

so I think I define my practice as really quite selfish.

I don’t expect everyone to like it in anyway; I don’t

know if I even mind at all if they don’t at this point

I just do it because I really enjoy it and it’s such

a therapeutic process for me. I love colour and

movement and feeling things.

I sometimes look at my work and think there’s

loads of different handwritings almost. I use a lot

of different techniques but they’re all for me. It

depends how I feel that day and it depends what

medium I like. I define myself as someone that just

really loves playing and I love the fact that art can

be just a form of outlet and expression. I don’t think

it needs to be arrogant.

ZRT : How would you define the word Flux the word?

AM: I know it means change by definition for me

almost feels like a heartbeat or breathing in and

out. It feels very calm actually, it’s peaks and

troughs and has rhythm. How I practice now is this

stillness, this silence. My definition of the word Flux

would be the idea of rhythm and movement.

ZRT : What materials do you USUALLY work with?

AM: I work with absolutely everything and I love

trying new things. I love the personality that each

single form of medium can bring it’s so exciting. Like

inks for example, allow them to move themselves

you are just guiding them, so I love that about

inks. I love the fact that guache is matt, I love that

acrylics are really bold I love the fact that I can

incorporate any form of material or textile into my

work which is just amazing. I always say that to my

students actually that I want them to be locked in

the bathroom and be able to make a masterpiece

and I find that really exciting.

ZRT : Where do you get your ideas from? Is there a certain sector that

influences work e.g., Fashion/Music/Architecture/History/Science?

AM: My ideas are a mix of things and it’s really

interesting actually because sometimes I have been

known to be a bit self-critical for the fact that

I’ve always thought there’s so many artists out

there that have these huge concepts and I found

that when I did my masters I would over think and

I’d overcomplicate things and it was like a form of

insecurity. I would over analyse everything and like I

said before my ideas have come from observation

and feeling and viewing. My practise is so much

of me just loving this feeling of movement and

just being in the material and expressing myself.

Sometimes they are just a feeling or just a colour

and I love that; I really do.

I’ve stop beating myself up about that because for

years I’d have to find these really intense concepts

that were really deep and dark and emotional and

I just thought oh this is really boring and actually

I’m not enjoying this anymore. I bring in alot about

woman hood. I’ve had alot of things go on in my

personal life to do with my woman hood and you

know health issues and I suppose reproductive

health so i find that kind of trying to embody my

own womanhood has come in alot. I think that also

comes with this mindfulness of just being so grateful

to be able to express.

I research alot so the things that start to come

to me start popping up like deities or certain

iconography or huge shapes and its nothing

necessarily specific but it starts to create its own

theme and I try to trust that.

ZRT: Talk through your process; when you start a project how do you

carry it out? Is this process logical and rooted in routine/habits? Is

it free and open to change and more focused on intuition?

AM: I would 100% say my process is more focused

on intuition. At the same time what I’ve decided

to do over summer is I really want to start doing

sketchbooks again because I actually haven’t done

a lot of sketchbooks for a long time. I think that’s

because I work with students that are constantly

doing sketchbooks I almost feel a bit envious that

I haven’t got this beautiful really liberating free

body of work that I can refer to all the time. On the

flip side I think it’s because my process… it almost

comes to itself ; I’ll be working with a material and

get ideas from the movement of material or the way

in which a behaves so it’s kind of a really holistic and

intuitive process for sure.

ZRT: When do you feel you are in flow state?

AM: I feel I’m in a flow state when I’m working or

painting and sometimes things just don’t work out

and I’ll just walk away and leave them for a while.

The flow state for me apart from it being creative is

actually very silent, Its like when you’re only able to

hear your breath, that present quiet place.


‘SHITS AND GIGGLES’

A2 - INK, PASTEL, GAUCHE AND

PEN ON WATER COLOUR PAPER

AMELIA MULLINS

19


“THE

GREATEST

BLESSING

THAT

CREATIVES

HAVE IS THE

ABILITY TO

PLAY”

AMELIA MULLINS


ZRT: Do you take influence from the same things spanning across your

textiles, paintings and illustrations?

AM:Yes is the answer to that! I Think its all just

an amalgamation or an embodiment of what I’m

creating at the time and it is forever changing,

which I love.

ZRT :Do you think your outcome and style is guided by the material you

choose to work with, whether that be fabric, acrylic, ink etc.

AM: Absolutely and I love that. I love allowing the

material to dictate a big part of where the piece is

going. Its almost like getting to know someone or

finding out what they can do and that is a really big

part of my practice now and it means that I’ve kind

of relinquished a bit of control as well and that feels

really special and therapeutic.

ZRT: Has there been anything within your journey as an artist that you

have felt to be impossible or still do?

AM: I know that I am not where I would like to be

within my practice but I’m okay with that. Whereas

I used to get very frustrated like I just want to do

this kind of work and why am I not getting there;

and I see it with my students and young people alot

where they’re like ‘ah it just doesn’t look how I want

it to’ and actually I’ve somehow very peacefully

learnt to let that go completely and started

enjoying the journey.

I know my work is evolving all the time but I am really

enjoying that level of exploration.

Things are forever changing and actually its not the

moment you’re in that’s bad, its just where you’re at

now. I find that really exhilarating to know that I am

going to keep progressing and keep evolving and all

the different stages of that.

Back to the question of have I felt anything to be

impossible in my practice? No I don’t think have

actually. There are levels within any practitioner

where you would like your confidence to be at a

point where you’re able to push work into certain

places, but I am hoping that will come in time.

ZRT:How does your work differ when you are working on a your own

on a project or collaborating?

AM: I really love both actually. I recently did a

knitwear collection with a designer and its really

beautiful to bounce off other peoples ideas . I think

that one can stay a bit limited if they aren’t at least

talking through things with other practitioners and

creatives. Even being in a room with other people

you’re able to get different perspectives and an

insight into yourself that makes you take a step

back and review what you’re doing. But I really enjoy

collaborating as much as I enjoy working on my own;

I think the only difference is that you don’t have

any one else’s voice. I mean it depends on who you

work with but you always have to be very careful

with who because you’ve got to be able to mesh well

and to hear eachother and conversate. I think with

any artist there;s a level of control we like to have

and a level of indulgence so that’s always got to be

considered but collaboration is a really lovely way to

mix things up.

ZRT:It is said that achieving a flow state is most achievable in isolation,

would you agree?

AM: If its a momentary flow then perhaps yes; but

actually to get to your flow state you’ve got to be able

to have perspective.

There has to be this background of gaining perspective

and being a little but outside of yourself to then be able

to access that flow state. The fact that I work with

students all the time and its allows me to think outside

of being too internalised I’m able to come into that flow

state much easier.

ZRT: Do you find yourself working across multiple projects at once? If so,

how do you navigate the change from one piece to another?

AM: Sometimes I like to layout 3 massive pieces of paper

at once and just lay things down in layers and stages.

You know when you look up too close at something you

can get really anal and it really affects your flow so I

actaully find that jumping from one piece to another

really helps to keep my in a rhythmic state.

ZRT: WHAT Advice DO YOU HAVE for young creatives ?

AM:There is so much advice I would like to give and also

try to instil in young people. Firstly, trust.

When you are creative and view the world from this

perspective, you are constantly building up a little

archive of ideas even if you don’t know it. Trust the

process, don’t try and assume all the answers and

outcomes and DO NOT OVER THINK! Trust that you do

know and just go for it.

Be brave and don’t be too precious. The greatest

blessing creatives have is the ability to play. Embrace

that and just allow yourself to enjoy your journey and

your practice. Don’t be so hard on yourself. We are

learning and growing all the time and once we can

embrace that and be present, much better work begins

to be made. Be ready for harsh critiques and criticism.

As you are learning you will get feedback from teachers

and practitioners and this can really help your progress

but as with all creative practices, not everyone will like

or understand your work. Be willing to learn, grow and

take advice but also know when to trust yourself and

produce with conviction.

ZRT: Do you think recent work differs in themes and style to earlier pieces?

AM: Yes absolutely! Again I go through these phases. I

think again it changes with mood as well; there was a

period of time where I was feeling much more sensitive

and I wanted things to feel almost more like a dance or

they tended to evolve alot like that. Then there was this

evolution into stuff that was a bit stronger and more

definite. When I was doing my masters I actually really

admired things like couture and working in a really quite

detailed way; which I found wasn’t where I was happiest

and there was another point where I really liked working

kind of more graphically. I think although my work

evolves and the themes definitely change depending on

where I am in my life or what I’m finding inspiring I think

luckily there always a bit of me that flows throughout

AMELIA MULLINS

those different times so it feels almost like a map of

life.

21



23



ΦV = Φ *Vλ *


FLUXFOCUS_

[LIGHT]

ENERGY FROM

A LUMINOUS

OBJECT

ΦV = Φ *Vλ *

Luminous Flux dictates how quickly light

moves from one luminous object to another.

Photography deems light as a tool;

transforming it into a malleable object. It paints

subject in areas of light and shadow sculpting

out new proportions. Like moths we gravitate

towards light because of these qualities.

Everyday we are plunged into darkness

to mark the end of a day; and woken by its

presence. Our routines are intertwined with

light. Here we explore lights ability to alter

perception of our surroundings.


27



29


30


31 31


Manipulating light through the mechanisms of

a camera is a skill mastered by photographers;

each approaching the control of light source in

their own individualistic process.

Photography student Meg approaches her

photographic process through an embodied

practice; utilising the properties of paint and

illustration, she is guided by the act of using

materials and creates a dialogue between

herself and the subject. We speak to Meg

about her unique discipline and conceptual

projects.

ZRT : How do you define yourself and your creative practice?

MEG: My name is Meg, and I am in my 3rd year

studying Photography in Bristol. Originally from

Lands End, Cornwall, the unconventionality, and

curious energy of my childhood growing up in

such a weird and wonderful, isolated place is

the fundamental driving force of my creative

practice. Growing up somewhere where to be

creatively inventive is key to creating your own

fun has shaped my practice into one of pure

obsessive curiosity and experimental play with

the world around me through art. My practice

is my way of life, art is the medium in which

I grow, develop, learn, and explore the world

inside my head and the world in which I live in.

ZRT : How would you define the word Flux the word?

MEG: When I think of the word Flux, I

immediately catalyse the notion of constant

change. The fact that the only constant in

life is change. The eternal recurrence of life

within the world, the changing of seasons, the

constant evolution of the natural world and

humanity.

ZRT : Talk through your process; when you start a project

how do you carry it out? Is this process logical and rooted in

routine/habits or is it free and more focused on intuition?

MEG: The start of a project is one of deep

insecurity and anxiety in the unknowing of

what my project will be. I feel as if I am digging

in the sand, trying to find the clues which

will lead me to the precious treasure of my

future project. My attitude is one which is

deterministic, I fully believe my projects are

determined to happen, I believe they are

meant to happen. They are the building blocks

of my life and myself as a person and artist.

My projects always begin with questioning,

asking why and how that life is the way it is.

Although the content of my projects is intuitive

in nature, the structure of my projects is one

of logical, routine discoveries. I treat the topic

of my projects as a mathematical equation or

scientific experiment. I must begin a path of

consumption in knowledge, and I must show all

my workings. No stone must be left unturned.


ZRT : Where do you get your inspiration from? Is there a certain

sector that influences work e.g., Fashion/Music/Architecture/

History/Science?

MEG: My source of inspiration is absolutely

everything. I view my projects as an amalgamation

of everything I have ever witnessed, read, and

thought about. When I am in the process of a

project, my brain is that project. Its constantly

collecting information from the world around me,

feeding it through my thoughts, applying everything

to the context of my project. It is as if I am wearing

glasses with lens created from the layers of my

practice, I consume life to question it, to ask

why, to understand the world through my Art. I

am constantly influenced by history, psychology,

biology, and philosophy in the context of research

of how my project content behaves in the context

of the different forms of knowledge. It is as if my

project is an egg, and I am experimenting with

all the different ways of cooking it. How does it

perform in the multitudes of different context from

different structures of life.

ZRT: Alongside your photography, have you always translated this

into paintings and illustrations. Do you see these practices as one

integrated process or do you see them as separate practices?

MEG: I have always had an interesting relationship

with the multitude of different mediums there

are. This is the most intuitive and free form of

my practice; I simply cannot be defined by the

medium I utilise. I am defined by the questions I ask,

not by the means in which I ask it. I use different

forms of art to explore my work in different

ways. I use photography in a way which is one of

documentation of what my eyes perceive, one

of capturing the shared reality of life, while I use

painting as expression of what my brain sees. Paint

is the camera which captures the images of the

reality inside my head. I am bias to the physicality of

Art, the act of physically creating something from

something, it is the most natural thing I can do. My

relationships with different mediums are themselves

always in a state of change, we fall out and we

fall in love. They are defined by the opposites in

which state the apart from each other, their unique

abilities attract a greediness and self-indulgence

which is only soothed through pure experimentation,

and combination of mixed media. My work must

be expressed through a multitude of different

languages, or otherwise I am restricting my brain

and my art.

relationship between the materials themselves. In the

context of my current project, the content is about

the Fractal patterns of the natural world, but my

practice explores these patterns while performing in

the shape of these patterns themselves, this is the

nature of Fractals. The content is the context of why

I use certain materials. I am guided by the discovering

of these patterns in the infinite forms they can take.

I dictate the materials like a mathematician utilises

different theories, and a scientist uses different forms

of equipment. My materials are the front of the ship in

which my project takes shape as, it steers us through

then open sea of life, dictating the direction from the

discoveries made through using that material

ZRT: How do you respond to change and unpredictable moments in your

practice?

MEG: It is certainly subjective to what form that

change takes but I would describe my practice as

constantly, predictably, very unpredictable. Again, the

only constant is change, so change is fundamental

to the movement of my practice. My own behaviour

can be very unpredictable, its solely dictated by the

relationship with my work at that moment of time.

When my projects twists and changes I see it as

necessary progress, the determined stages that

creates my practice and processes.

ZRT: Would you say you are guided by material when you work with

different mediums, e.g. your painting, scalpel, incorporating bark

into paintings. Does the chosen material dictate the themes and

direction of the piece?

MEG: I would say I am guided by the questions I

ask through the materials I use. I think so greatly

about the acts of using different materials, the

actual physical form of that material. Relationships

are formed through using different materials, the

process is viewed as a whole but also broken down

into fundamental components to understand the

33


“If I place certainty

on the output of

my practice, I am

placing pressure

and parameters

on what I can

create.”

MEG GRIFFITHS

‘Meg in her Fractal World’

Oil & Acrylic On A2 Canvas


The most recent series of Meg Griffiths’ work

looks at fractal patterns within nature whilst also

analysing her own behaviour through this lens.

Treating her projects as mathematical equations

has crossovers with other practitioners in

neighbouring chapters. Here we find out more

about the inspirations and roots of this latest

series from Meg.

ZRT: Would you be able to give a brief overview of your current

project?

MEG: My project is an investigation of the fractal

nature of the natural world and the fractal

nature of my behaviour in the context of the

natural world. I am exploring the patterns which

are prevalent and fundamental to life, the eternal

repetition, the infinite cycles. It questions what

life in the context of a particular environment

is, creating a constant in which I can explore

the constant changes which constitutes its

existence. The nature of my project is infinite,

the layers are complex and never-ending. The

content of my project explores the fractal

form of life while the project itself is a fractal

pattern through the shape its naturally taken. In

the simplest terms, imagine the content of my

project as a tree and then imagine my project

itself as a tree. This is the nature of fractals, the

ability to zoom in and out and find the recurring

pattern on any scale.

ZRT:Could you describe the elements within your own creative

practice that you consider fractal?

MEG: The nature of my practice takes a fractal

form. This is due to my way of working, my means

of experimentation. My welcoming of failure and

success, creates a space in which I place no

restrictions on what I create. The fractal nature

of work is very prevalent in this way, a constant

development, reflection, and progression turns

failures into successes. The repetitive, recurring

cycles of the fractal natural world reflects in

the shape of my creative process. There is no

pressure in what I create, there is no criteria, no

end specification which I must achieve. Just a

comfort and reassurance in the fractal pattern

of my practice and process, the tree is always

growing and even if branches break off, new ones

will always keep on growing.

ZRT: In a description of your work, you wrote that you think

about ‘only the current mark being made, never how that

mark will perform in the future’. There is a tendency to have a

preconception of how you want a piece to look before creation

and I feel this can limit the possibilities of the piece before it has

even started. How did you get comfortable with uncertainty of an

outcome and working intuitively?

MEG: I feel most comfortable with uncertainty in

terms of my creations. If I place certainty on the

output of my practice, I am placing pressure and

parameters on what I can create. I imagine it as

if my project is a forest, I don’t want to stop the

forest growing, I don’t want to predict what the

forest will look like in the future. It’s pointless to me.

Its detrimental to my work. I surf the wave of active

creation; I help each individual flower grow without

thinking about how the flower patch will look like.

Nothing is certain in life. I have learnt to not put my

faith in structure. There is no universal language in

which I can learn.

ZRT: ‘Constants and changes’ are explored within this project. How

would you say you generally cope with change and uncertainty both

within life and within your unique creative process?

MEG: Aside from my practice, uncertainty fills me

with stress due to the lack of knowing. Its rather

contradictory of the philosophy of my practice.

For someone who thrives on unknowing and the

inability to predict the future in the context of

my art, I search for the constants in the rest of

my life. The acceptance of change being the only

constant in the context of my work is what fuels

my creativeness, but the denial that change is

the constant in my life is terrifying to me. I think

the opposition explains itself, life is defined by

opposites. So, it’s fitting to me that my brain works

like this.

ZRT: Are there any visuals or motifs that you associate with these

opposite words [CONSTANT] and [CHANGE].

MEG: When I think of these words, I am immediately

teleported back into my secondary school science

classroom. I can smell the weird chemical smells

which my nose becomes slowly blind to over the

5 years spent there. When thinking of constants

and changes, I think of the science experiments I

would complete half-heartedly. The repetition of

the Teacher explaining the importance of constants

and changes during an experiment so that our

results are valid. I completely believe this education

of experimentation is so fundamental to how my

creative practice exists now. The playful curiosity

which was indulged by investigating how life works

through exploring constants and changes in a

biological, physical, and chemical context.

ZRT: How do you see your practice evolving with time? Is there a

material/discipline you would like to focus on or a project you plan

on initiating?

MEG: When I think of the future of my project, I

am not met with visuals but a feeling. That feeling

is the rope in which I am following through the

darkness. That same feeling led me to my theories

on the pattern found in the cardiovascular and

London underground comparison. I have learnt to

trust uncertainty as it takes me where I am meant

to be. I certainly feel the direction of my project is

to increase the physical size of my work. I want to

work on bigger pieces physically. I want that feeling

I feel when I stand next to my favourite tree. I feel

small and insignificant in the best possible way. Its

grounding. These patterns are so significant to me, I

want people to feel that feeling too.

35



37


38


3939



v = s/ t


FLUXFOCUS_

[VELOCITY]

SPEED WITH A

DIRECTION

v = s/ t.

The terms Velocity and Speed are

commonly interchanged for one another;

however they have different meanings.

Speed is the time rate at which an object is

moving along a path, while velocity is the

rate and direction of an object’s movement.

DELTA ; the symbol used in the calculation

of velocity represents a ‘change in’.

This chapter is a photographic

representation of the delta symbol,

championing how the integration of

movement into daily life can be a coping

mechanism for change.


43


IMAGE


IMAGE

45


Open water swimmer Blu Edmunds details the

importance of connecting with nature; for him

through wild swimming; to regulate the mind and

body. Throughout lock-down; with the shutting of

public pools and gyms, swimming in the Thames

weaved its way into Blu’s routine; evolving into a

mindful ritual and coping mechanism for chaos.

In this interview I ask Blu to talk us through his

personal definition of Flux; his relationship with

nature and how athleticism and sport has helped

him cope with the uncertainty of the everyday.


ZRT : Do you prefer swimming in a pool or open water? Do they serve different

purposes for you?

BLU: The cold and the strength of Mother Nature in

outdoor swimming connects me to divine powers that

I cannot articulate.

ZRT: How did you get used to the cold shock of open water swimming in

the Thames?

BLU: Breathing techniques, caffeine and a

competitive spirit.

ZRT: How do you generally react to change? Do you enjoy it/welcome it

or apprehensive about it?

BLU: I love change. Adaptation is challenging hence

addictive.

ZRT: Has swimming been a therapeutic outlet for you? If so in what way?

BLU: Swimming has been my only therapy and has

worked thus far. As well as the silence and distance

from my phone, the water cleanses the soul which I

am sure you can relate to.

ZRT: Do you find the discipline required to compete as an athlete and

being involved in a sport has fed into other parts of your life? If so,

how?

ZRT : COULD YOU GIVE A Brief introduction to yourself and what you

do/ are doing at the moment?

BLU: I am Blu, 22, raised in London. Currently

studying Nutrition, swimming outdoors and DJing.

ZRT : How would you define the word Flux?

BLU: Flux to me is transitioning state. I personally

can go from militantly rising at 5am to swim in a

freezing lake to DJing until 7am (sober mind you)

and it’s an extreme balance that I enjoy.

ZRT : How long have you been swimming for? What is it that drew you

to swimming as a sport?

BLU: Competitive swimming since I was 11. The

water is my home. Any issues are washed away.

Presence is attained.

BLU: Elite sports discipline has definitely infused into

my focus on music and business. Also how I carry

myself in public; I know for a fact that I have pushed

through boundaries I am proud of, so I act with

respect towards myself and radiate that outwards

as a result.

ZRT: sun light; music and movement ARE THINGS THAT PERSONALLY BRING ME

calm within chaos. Do you resonate with any of these categories too?

BLU: That is a delicious trio. When I get up before

sunrise, enter the cold water and push my limitsnothing

can phase me that day. I feel I have

conquered what I need to and all other issues are

smoothly accomplished.

ZRT: What is it about nature that you find calming?

BLU: Nature connects me to what matters. It is

raw, non-judgemental and powerful. Our ancestors

experienced both the harshness and the beauty. So

should we.

47


“Nature connects

me to what

matters. It is raw,

non-judgmental

and powerful.

Our ancestors

experienced both

the harshness

and the beauty. So

should we.”


49



51



V = π r 2 h


FLUXFOCUS_

54

[VOLUME]

DIMENSIONS OF

DISTANCE/TIME

V = π r 2 h

Human tendency is to find rhythm within

chaos. Our lives are rooted in routine

and when this is disrupted we crave the

return of familiarity and rhythm.

Volumetric flux deals with dimensions

of distance and time; principles that are

engrained in music and dance.

Electronic music and ecstatic dance both

involve responding to elements of intuition.

This section focuses on a form of dance

rooted in improvisation and creative

intuition rather than choreographed

movement. Movement, music and dance

are art forms which can be used as an

emotional outlet and in turn assist people

in their coping with transitional periods; a

source of escapism.


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57



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61


“Removing the

safety net of

total control

can really help

to capture a

moment or

a feeling in

a song.”

Bruno Dimitroff

2023

Bruno Dimitroff creates electronic music exploring

themes of tension growth and observation.

His creative process now strongly reflects the

philosophy and principles of artistry that he

values.

Here we speak to Bruno to gain an insight on how

his eclectic music taste influences his music; how

unpredictability and randomness are integral to

his practice and how drumming introduced him to

the idea of music production.


ZRT: Introduce; yourself what you do and your specialism.

BRUNO: To strip it back, instrumentation and

rhythm make up the core basis of my musical

identity. Growing up with parents obsessed

with music and a piano in the living room helped

develop an instinct to pick up and play anything

lying around. The conventional idea of production

nowadays seems stale and uninspired compared

to the timeless feeling of playing an instrument.

The most contemporary manifestation of that

definitely lies within playing FM and modular

focused instruments. Drums were the first

instrument that truly gripped me, and exploring

the impact and influence of rhythm within the

club and rave environment has definitely informed

my work and reshaped my sonic palette.

ZRT: How would you define the word flux?

BRUNO: A state of constant change or evolution.

ZRT: tension, growth and observation are themes that you explore

in your practice. Why do you think these translate so well into

your music style?

BRUNO: Observation really exists as the

starting point for an idea. As for tension and

growth, songs with hyper intensified buildups

and drops tend to leave little room for nuance.

Music that unravels its narrative slowly really

lets you appreciate the twists and turns the

paths take. It is always a goal when writing to

get lost in the journey of a composition, finding

yourself somewhere you never anticipated and

then having to figure out how you ended up

there. Tension and uncertainty from a listeners

perspective give them a chance to acknowledge

oncoming change as inevitable, but without

providing an immediately clear direction as to

where it is going. Artists like An Gleann Dubh and

Djrum have really inspired a pursuit of a tapestry

like approach to arrangement as a defining

feature of the listener experience. Growth within

that journey is key. As a young person in a rapidly

changing environment, its healthy to understand

that slow impactful change over time is much

more effective than rapidly dramatic decision

making, incorporating these themes undoubtedly

helps me to cope with the reality of that.

ZRT: What got you interested in music production and when? Was

electronic the first type of music you produced?

BRUNO: A drum teacher really pushed the idea

of producing my own music at around 15 and he

was keen to show me the basics of logic and

recording. Madlib at the time inspired an attempt

at making hip hop and using samples. Searching

charity shops and record shops for samples led

me to so many bizarre corners of music. With

this the feeling of using hardware and electronic

instruments really started to feel much more

inspiring than sitting in front of a computer for

hours on end.

ZRT: Do you find unpredictability and chance play a part in your

creative process?

BRUNO: Unpredictability and chance as the

driving force for a generative approach to making

electronic music can provide you with some really

bizarre results. Removing the safety net of total

control can really help to capture a moment or a

feeling in a song. Electronic instruments typically

boast some kind of chance/probability-based

functions, so there is a lot of scope to involve

randomness into the process of making music.

ZRT: How do you generally deal with change, do you welcome it or

FEEL apprehensive about it? Has music been an outlet for this?

BRUNO: The past 5 years or so of my life have

been pretty turbulent to be honest. Embracing

change, however quickly or slowly the results

yield, provides a basis for individual growth. As

something so integral to my identity, making music

has been a constant for a long time, so looking

back at projects form a musical journal of my past.

It definitely takes some time to understand where

music fits in your life, and not having so much time

to spend making music means anything unravelling

itself in my personal life directly feeds into what

music I will make that day.

ZRT: Are there any SPECIFIC genres of music you feel inspire your style

of music production and sound?

BRUNO: Its so hard not to be impressionable

or easily influenced by others these days with

music everywhere, it feels almost risky listening

to so many different types of music because the

distinctive subtleties which make them special can

be missed so easily. I try to keep my sound focused

but informed. Right now, Grime has really found a

special place in my heart, East Man and that corner

of techno - informed grime beats really put your

head in such a focused place.

ZRT: how long do you usually work on a track, or do you work on

multiple projects simultaneously?

BRUNO: Working as a full time Line Cook, music

making has to fit itself in around a lot, and ends

up being quite spontaneous and always reactive

to an experience, feeling or thought that occurred

on the day. Bodies of works tend to emerge quite

randomly after a few months of experimenting

and you start to see the components of a project

in half baked ideas that have been toyed around

with for a bit. This obviously leads to countless

unfinished projects, but normally when something

really resonates it spends a few months finding its

place within the scope of something bigger, and it

slowly evolves into a manifestation of that feeling or

memory that informed it at first. Naming always has

to come after the fact, otherwise i get the sense

that I’m trying to define what has not been made.

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CHANGE IS THE ONLY CONSTANT

65


FLUX

2023

PHOTOGRAPHY - ART DIRECTION - COPY

ZOE ROBERTSON-TINGLE

Thank You to the contributors;

AMELIA MULLINS

BLU EDMUNDS

MEG GRIFFITHS

BRUNO DIMITROFF







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