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Within living memory there have always been metaphors and everyday life practices to revive dead matter. Animating things that are actually considered soulless. Also in their day-to-day handling of machines, people are tempted to take computers or cars into the context of the humane, to give a name to these commodities or to understand them as creatures.

Quido Sen’s works derive from this context. Using the most simple means and electronics, he produces objects which make us believe that they possess a life on their own. Made of vegetable sacks, his "animals" fill and empty themselves with air, leaving an impression of breath. He glues sensors onto a TV-monitor as during an EKG to transform visual signals into sound waves - producing a catalogue of audio signatures for TV films ranging from Fellini to Denver Clan.

For one sound installation at Zugersee the artists buried a suction pipe at its bent ends 30 cm deep into the earth. How earth sounds, the artist wanted to know. Microphones were placed inside the pipe ends, which recorded the sounds of the ground and played them back through
the pipe via amplifiers and speakers. One could not hear anything. But no disappointment arose in the artist. "So it was easy," he says, "it was right that one should hear nothing. There is nothing."

The artist is not tempted by technical utilities to simulate something, but to make visible and audible what is there. [...]

Often the viewer has influence on the structure of sound or movement. If one approaches the animal object that looks like a medusa too closely, every movement comes to halt, and it starts to "breathe" again when one distances oneself from it. Nonetheless, making the relationship between viewer-movements and the installation and objects too obvious is avoided. On the one hand, the artist Quido Sen is interested in transforming various parameters and physical measures, but on the other hand this relation is rarely directly recognisable. In order not to let the interaction of the audience and the object generate rash conclusions, he inserts random generators in between them. Sound qualities of material, chance, repetition and acoustic mixtures of present and past, combined with everyday materials and simple spatial arrangements, are characteristic of the works of Quido Sen. [...]

[Extract from Sibylle Omlin: Die Seele eines Ofen-
rohrs. Quido Sens Objekte und Medieninstallationen]