Thanks so much for doing this. To get us started, could you each introduce yourselves and talk a little about your individual backgrounds? Where are you both at right now in your respective artistic journeys?

AMIANGELIKA: I am a new media and experience artist based in London. My practice revolves around exploring the interconnection between image and sound, focusing on audiovisual installations and performances. My background includes art direction, abstract photography, videography, and nine years of ballet and contemporary dance training, which, although not pursued professionally, have deeply influenced my work. Currently, I am dedicated to creating immersive environments that challenge perceptions and tell experiential stories, utilizing real-time generative visuals to create experiences that are both intimate and expansive.

1100: I am a London-based composer and electronic music producer, working under the pseudonym 1100. I started playing music really young but it’s only in recent years that I’ve been able to explore it professionally, from Dolby Atmos engineering to sound design. Now, since collaborating with Angelika, I’ve started to shift my approach beyond simply trying to capture a feeling through sound. I’m now thinking more about how music can shape space, evoke movement, and create experiences that exist beyond just listening.

So far I’ve enjoyed all aspects BLCK SUN, and it’s so nice to see a project where both the audio and visuals are of equal importance. Can you walk me through the inception of this project, and any inspirations?

AMIANGELIKA: BLCK SUN started with a simple curiosity—what happens when sound and visuals aren’t just layered but completely intertwined? We met at a party, struck up a conversation about audio-visual art, and within a week, we were in the studio experimenting. There was no big plan at first—just a “geeky interest” to see how far we could push the connection between what you hear and what you see.

As we kept working, the project evolved into something much deeper. BLCK SUN became a reflection of inner chaos, exploring the tension between darkness and light, order and disorder. It’s rooted in personal experiences, shaped by emotions we both carried into the process. Over time, what started as fragmented experiments grew into a cohesive work—each iteration revealing new layers and unexpected connections until it felt like the project had its own pulse, constantly evolving with us.

I’m intrigued by how this piece is described as a dialogue between chaos and order, darkness and light. Could you elaborate on how each of you interprets these opposing forces in your work, and how you bring them together?

AMIANGELIKA: I see chaos as raw, unpredictable energy—glitches, distortions, and generative patterns that behave in unexpected ways. It’s the part of my work that feels alive, constantly shifting and refusing to be controlled. On the other hand, order isn’t about strict structure at all; it’s about simplicity and an eerie calmness. It’s the stillness that contrasts the movement, creating moments of quiet that feel almost unsettling. Together, chaos and order create tension, but also balance—each one amplifying the presence of the other.

1100: For me, chaos comes through in contrast as well. Sometimes in the form of two different themes or musical ideas playing at the same time, maybe coming in and out of sync or almost competing with each other for attention. Or if one repeating phrase seems to go on for too long. It creates a certain discomfort and instability if the listener isn’t quite sure whether a part should even be there, and the relief comes when it finally gives way. There are a few different themes that appear throughout the album in different contexts, sometimes dissonant and sometimes peacefully. I think that becomes a reminder of some sense of order within the overall arc. Silence or even noise is interesting, especially in a live setting, because it can either give a sense of calm and relief, or the feeling that maybe something has gone wrong. Both of those feelings are really important to this piece.

Angelika, can you tell me about the visual programming or generative elements at play in this project, and how these elements respond in real-time to the music?

AMIANGELIKA: I work with real-time generative systems that respond directly to the music—things like frequencies, amplitude, and texture trigger changes in the visuals. I mainly use TouchDesigner to build these environments, which means the visuals aren’t pre-rendered; they’re happening live, evolving with the sound in the moment. What I love about this process is that it’s unpredictable. I can set the rules through code, but the outcome always has an element of surprise, even for me. It feels less like controlling the visuals and more like having an ongoing conversation between the sound, the system, and the space we’re in.

1100, from a production standpoint, how are you crafting the sounds or textures that interact with Angelika’s visual networks?

1100: Understanding that Angelika’s visuals are responsive, I design sounds with distinct contrasts—dense layers followed by sparse minimalism, harsh noise juxtaposed with pure tones. I try to create textures with a lot of depth, and certain sounds within those are made specifically to trigger visual reactions, such as a bass pulse causing a ripple or high-frequency glitches fragmenting the screen. That helps distinguish between those layers because you’re drawn to the sounds that are most affecting the visuals, and vice versa. 

As a duo, how are you structuring your collaboration process together?

1100: Our process is really fluid. We usually start by bouncing around broad ideas—sometimes it’s a mood, a concept, or even just a sound or image that sparks something. From there, we’ll each dive into our own spaces: I focus on the sound, Angelika on the visuals. But it’s not like we’re working in isolation. There’s a constant back-and-forth where her visuals might influence the way I shape a track, or something I create sonically will trigger a whole new visual direction. It’s less about following a strict structure and more about letting the work evolve naturally, with both of us feeding off each other’s ideas until it clicks.

Angelika, you’ve performed in massive settings like Outernet London. What considerations go into scaling these real-time generative visuals for such large-format presentations, and does it change the creative decisions behind the scenes?

AMIANGELIKA: Yeah, scaling visuals for huge spaces like Outernet definitely changes how I approach things. It’s not just about making something look good on a bigger screen—you have to think about how people will experience it from different angles, how the light interacts with the space, and how motion feels when it’s blown up to that scale. Things that feel dynamic on a smaller screen can suddenly feel too slow or overwhelming when they’re massive. So, behind the scenes, I spend a lot of time tweaking the code, adjusting contrast, and rethinking the pacing to make sure the visuals still feel alive without losing their impact. It’s like the work has to breathe differently depending on the space.

1100, can you speak to any musical influences or techniques that shaped your approach to this album?

1100: Influences came from all over really, but the process I think is what ended up shaping what the album sounds like. I sometimes record hours of one idea and then go back and pick it apart to find pieces I like, or I record one idea then play it back over top of another and try to find places where they work together. A lot of the tracks on the album are made up of ideas recorded sometimes months apart. The most difficult, and also the most rewarding, part of making the album was refining really rough, dissonant ideas into cohesive pieces of music that still held on the disorder of the original recordings, and most of that didn’t happen until we started sequencing the visuals and music together.

Finally, what has surprised you most about this project?

AMIANGELIKA: I think what’s surprised me the most is how much BLCK SUN feels like its own living entity. When we started, it was just an experiment, but over time, it’s evolved into something that seems to grow with us. Every performance feels different, not just because of the real-time generative visuals, but because the piece responds to the environment, the sound, even the energy of the audience. It’s never static. There have been moments during live shows where the visuals behave in ways I didn’t expect—glitches that turn into beautiful accidents or shifts in the system that create something entirely new. It reminds me that even though I’m the one programming the visuals, I’m not fully in control, and that unpredictability is part of what makes it exciting.

1100: For me, it’s been surprising how emotional the whole process has been. We’re working with abstract sounds and visuals, but it’s all become deeply personal. I didn’t expect that level of emotional resonance when we first started. Also, the collaboration itself has been a surprise—in the best way. There’s this constant feedback loop between us, where my sounds influence Angelika’s visuals, and her visuals reshape how I think about the music. The project has taken on its own voice, and we’re both just following where it wants to go.

BLCK SUN is being independently-released in full on March 7th and is showing at festivals globally throughout the year.