Laura Luna Castillo is a multimedia artist currently based in Puebla, Mexico. She began her artist practice through photography, later developing an interest in video and film. Luna studied several diplomas on cinematography, screenwriting, and photography in Puebla, Mexico, and Prague, Czech Republic.
While working on ways to express ideas through film and photography, she became interested in exploring other media, such as sound, sculpture and hybrid art forms. Laura completed her BA Hons. on Fine arts and Interactive Media at Prague College, which allowed her to combine traditional visual arts methodologies with new technologies and programming time-based projects. In 2017, Laura completed her MA in fine arts, specialising in sculpture.
Through these convergences of time-based media, music, sculpture and narrative languages, Luna explores the mechanisms of memories, imagination and the perception of inhabited spaces through multiple angles and temporalities.
A Cepheid variable is a type of star that pulsates radially, varying in both diameter and temperature, producing changes in brightness with a well-defined stable period and amplitude.
This piece is an exploration on pulsating sounds, field recordings and samples. It is inspired by the way pulsating forms can help measure time, distances and serve as beacons. Where there is chaos, a pulsar remains as the only stable source of information.
I believe that through longform pieces, the sounds that make up a composition are able to develop a more intimate dialogue with the listener. They come with a mindset of letting the sounds evolve at their own pace, sometimes with unusual rhythms and tempos. Working on a longform piece can be bit challenging, but ultimately a very rewarding process. The time to explore and fully develop the qualities of melodies or monotonous sounds is within the process of creating a soundscape. I think that some sounds can become more interesting through deep listening. Our ears begin to re-interpret a long lasting sound, and multiple, hidden tonalities, either imagined or existent, begin to emerge, giving the piece a quality of never being quite the same on each hearing.