When labelling son:DA we should note that son:DA did not begin to use expressions like art collective, tandem, duo, cooperative for itself; these have been propagated by other authors when referring to son:DA. Moreover, different sources render the name son:DA differently, including son:da, sonDA, sonda, zonda, SON:DA, and SON:da. Different labels or uses of the name may arise from the linguistic or syntactic problem posed by the unusual name ‘son:DA’. Following Slovene syntactic rules, we are forced to intervene in the name, manipulate it (deform it – e.g. when declining the name, we alter the word ‘DA’ – however, we also create it anew,
open it), and thereby we do not only use the word but begin to co-create. The liberty taken in changing the name testifies to the relationship to logotypes and credits in the art field.
(polona tratnik _ katalog son:DA 2000-2012 _ may 2010)

The world of digital technologies, of electronic sounds and images, seems to be the natural surrounding for son:DA. In their work, though, they are not fascinated with the endless possibilities of new technologies. rather, they are critical and ironical towards such fascinations. The constant multiplication of new technologies and their effects turns into noise, just as the actual physical space gets crowded with electric wires, cables, and piles of hardware that used to be brand new, cutting edge technologie. The works of son:DA are often deliberately simple and restrained, sometimes using very basic technical possibilities that stress an "underground" feeling.
(Igor Zabel _ aperto slovenia _ flash art magazine _ january-february 2004)

The tandem son:DA belongs to that area of art characterised by the linking of various technologies and media, as well as a new approach to group work. son:DA is active in the areas of installations, computer drawing and audiovisual performance. Characteristic motifs of this group are electrical cables and the rest of the electrical menagerie, such as outlets, telephones, a computer; in short, elements that represent connection and the communication methods of modern society. The tandem son:DA creates art with partners who change according to the needs of the project. They are replacing traditional authorship with various forms of participation. Impurity and hybridisation are characteristic both in their individual processes as well as at the level of content. son:DA uses a fresh approach to reinvigorate the irony of modern society as seen, for example, in the films of Jacques Tati. Similar to how the main character in the film ‘Mon Oncle’ becomes tangled in an enormous number of plastic hoses, son:DA would intertwine a figure with cables in their computer-generated drawings. All of this serves as criticism of the absurdity of technologised modern society and its alienation.
(Zdenka Badovinac _ cityspaces _ arco 06)

Even though the works of the artistic tandem son:DA appear predominantly in multi-media and new-media art exhibitions, and even though its members represent the typically urban, mobile, always-available artists that are armed with all possible means of communication, the team’s work within the context of new media technologies is paradoxical on several levels. Within the international context of contemporary art, son:DA is known for large, computer-generated drawings that are printed on canvas for presentations in museums and galleries. Although the process involves direct use of technology, the results are visually attractive, figural drawings with simple and effective narration. The story is always the same: in large, half-empty interiors, overwhelmingly dominated by technology – cables, sockets, mobile phones, computers and then cables and more cables – tiny human figures are captured in everyday, personal interactions with media technologies. These images are discomforting because the viewer can identify directly with them: nearly everyone, to some degree, depends on media technology, living and working among thousands of cables and within extreme concentrations of electro-smog. Images of helpless human figures locked in daunting profusions of electric cables exaggerate this situation to levels of almost comic absurdity. Technology’s terrifying dominance leaves people exhausted, drained, tied-up or even dead. The drawings, intertwined and pasted with cables, generate almost unbearable anxiety. Yet the artists do not stop there. In so-called ‘constellations,’ they use sound and moving pictures to deepen the experience. By means of a computer mouse, viewers can manipulate technology to alter and create images and sounds within the frame of the work. For example, one such constellation offers a claustrophobic space the size of a phone booth that is monitored by a camera. The technological basis of this ‘low-fi’ constellation is a simple sound buffer – a coaxial cable attached to the monitor that reacts to the flow and deflections of electron beams within the monitor's cathode ray tube. The pictorial composition, prepared in advance, represents the musical score and is the preliminary material for the sound component of the constellation. The duration is determined by the length of the pictorial composition/score, and improvisation is possible only by operating and projecting the sound signal into the room. The visual material, selected and prepared in advance, only can be manipulated by technical disturbance. Thus, son:Da creates frustration where communication could potentially take place. By using relatively simple technology, the artists only intensify the effect of disturbance and global "noise". These ambiances, constellations and situations have their background in an anarchic, hard core subculture. Yet transferred into a sterile and safe gallery environment, they lose their socially critical impact and become a simple disturbance in a more traditional space. son:DA is pessimistic, creating in its work a dark, existentialist counterpoint to the wireless utopia of the digital revolution. The pieces evoke fictional dystopias in which machines overpower and enslave helpless human beings. In their works, son:DA’s artists are cautious and sceptical users of technology. It only is employed to achieve appropriate distancing effects; the direct use of new media and creative exploration of new possibilities for their application are not principal interests. According to son:DA, constant communication is less fantastic advantage than sinister threat, with the technology that enables networking also supporting systems that monitor our private, public and economic space, as well as our bodies. People today use so much time to acquire information and to communicate through various technological tools that they have proportionally less time for direct, sensual communication. To connect has become our greatest need and through this need we are easy targets. Communication and cooperation is becoming privatised and colonised; the Internet is arguably the most monitored medium of our time. There are two forces at work in the team’s creations – one is a direct and sharp commentary on the damning effect that high-tech society has on the individual, whereas the other finds pleasure in the formal use of technology as a game. The first employs a traditional means (although by using the computer) of generating images, easily appropriated and commodified by the system of art. The second involves the concept of an open work, incompleteness, communication, and is therefore much more indefinable. This creates a schizophrenic oscillation between image and space, between object and process, between the static and the dynamic, between the final and the incomplete. In their system of representation, son:DA artists successfully balance between two opposites, with an obvious tendency towards an open structure, connections and interaction. But within a guarded atmosphere of ironic technological dystopia, which – in their case – acts as the final shield from the total and excessive connectedness of the modern world.
(Nevenka Sivavec _ habitat _ 6th baltic biennale of contemporary art _ 2005)

Artistic partnership son:DA (Metka Golec and Miha Horvat) belongs to the generation of artists, which are defined by digital technology and constant technological progress. The use of digital media in art can be limited to their 'benefits' or, as is the case with son:DA, to their direct 'abuse'. Enthusiasm over modern technology and its infinite possibilities translated into cynicism and irony. The irony raised by questioning the global connectedness of the world is manifested on different levels: drawings made using a computes mouse whose content always refers to electric gadgets, illogical use of cables and their (un)aesthetic value, low tech audio-video performances or presentations of usual communication tools in a humorous way. The classic phone, the mobile phone, charger, socket, cable, radio, television, the computer, and electric wires have become a part of our world which we do not perceive anymore, which have become self-evident details of everyday life. Perhaps this is why they become so unusual, interesting and even bizarrely funny if placed directly before our eyes.
(Alenka Gregoric _ crazy curator biennale _ 2006)

Metka Golec and Miha Horvat, the two members of the art duo son:DA, describe their collaboration as an alliance for discussion and communication that produces joint art projects in common cause. Their creative work extends to the fields of audio-visual performance, multimedia installations, and computer drawings and prints.
Communication is, indeed, the central principle in son:DA’s art, as can be seen directly in their work as well as in the way they process and manipulate static and flexible visual information. They bring it all together in technically demanding installations that include a rich, though not necessarily operative, technology park, with television screens, computer monitors, adaptors, video-recorders, CD and DVD players, cameras, etc. Important to their work is the open display – literally, the exhibition – of technology, screws, cables, time, and energy – all the essential linking elements that go into the presentation.
The artists bring their experience with spatial and audio-visual installation to their computer drawings, as well. These drawings are made using a computer mouse and a suitable application. Traditional drawing skills, along with the various associated tools and aids, have been modernized through the use of the computer, which preserves drawings not on paper but in the form of a digital code ready for printing out. The images in the duo’s computer drawings illustrate imaginary landscapes from the past and the future. It often seems, in fact, that they are drawing the past in the future. The figures in their pictures are continually struggling with an everyday reality that is focused on and tangled up in communication, a reality in which people often appear to be alone, confined within their own mental territories, which they try to control and expand through connections. The drawings point to the moments when a person is confronted by communication pollution in the form of trivial pleasures, entertainment, glowing signs, and idle time passively spent. These are precisely rendered archeological discoveries of things that, on the one hand, make our lives comfortable and, on the other, give rise to conflict, misunderstanding, and the search for ever new and different channels of communication. These channels are today’s highways of capital, the routes by which the everyday life of individuals is enmeshed in a structure of dependence under the control of various corporations.
son:DA combines the traditional and the contemporary, not only in formal visual terms by linking freehand drawing and hand-coloring to computer drawing and color fills, but also in terms of the content by displaying various degrees of technological development. This display is not, however, merely about drawing and documentation; rather, as the duo’s name suggests (the Slovene word sonda means “probe”), it is about probing the landscapes of the human mind.
(Bozidar Zrinski _ 27.biennale of graphical arts _ 2007)

Artistic duo son:DA’s narrative or portraying, seducingly aesthetic computer mouse drawings talk about the coldness and the estrangement within the globally connected world. The process of using a computer mouse as an interface is a meticulous creative act, that refers to the history of adapting new media in a kind of transition phase from traditional to media art, and creates a parody to the digitally created shiny and perfect imagery. son:DA also works and experiments in the field of audio-visual performance, site-specific installation and sound.
The information society, communicating on the level of a collective wireless imagination that once used to be a utopian dream, has since a long time known and experienced the ambivalence that the seeming autonomy of mobility within the cyber space is bringing. “Take for example the idea of a mobile work office, you have all this autonomy because you are moving around with your personal computer, you set your own hours, you have your mobile phone. You’re beating the system, but actually this is the system now,” says Claire Pentecost when referring to the new working modality, brought by the wireless networks and general freedom of mobility in the evolved part of the world. Either representing wired or wireless iconography, son:DA play with the notion of the necessity of being connected to the immaterial, but yet so tangible system all the time. Portraying cables or incorporating them as the “leit motif” in their drawings and in installation work actually reveals the rather truth of the contemporary society new icon, the connective element of the access, that empowers the First and parts of the Third World from the disconnected and unprivileged areas on the Earth map.
Rendering these scenes of the weird, but yet very familiar world, drawn with uneven computer mouse lines, son:DA makes the viewers experience the estrangement of their own everyday environment and of the society, driven by capital embedded in technology and progress.

(Natasa Petresin _ art´femme _ 2004-2006)

son:DA fetishized peripheral ordinarily subjects of technological age, such as socket, plugs, cell phones, cables. son:DA creates icons, drawn with computer mouse, that in opposite with paradoxial ilusionismus of Rene Magritt speaks: »This is socket!« Exactly this, which hid for armoire, will now as picture be installed on wall before armchair and admired minimalized aesthetics and functionality perfection of technical building. Without them – the sockets, there is no communication in this alias with this world. On the other hand, it is building in image-story that is showing conditions of residence. Fetish forms are the essence of suspension in metaphorical scenography: people wrapped in cables and hanged on cables with plugs alia exuperien cabled person, that carries red flower instead of life one is turning his own planet in space, for force of circumstances in engaged postindustrial environment, full with wires, that came from everywhere and they are waking up paranoia. And what are drawings doing together with a space and sound installatons? Effect of disturbances, of noises. That's why the image of socket is perfect. In spite of still life atmosphere there is neverending anticipation of connection. We hear electric noise.
(Aleksandra Kostic _ multimedia mxhibiton _ 2004)

Over the years Metka Golec and Miha Horvat created their own artistic language centered around the signal-to-noise ratio and the illusion of connectivity through modern day technology. Their installations, which they combine with graphical interventions, consist of broken wires, incompatible plugs and sockets, wrongly connected cables and stripped hardware. The line between parody and reality of today’s networks has never been as thin.
(Peter Tomaz Dobrila _ e-agora _ 2005)

son:DA provides the collective at the PC with ideas of rationalisation; everyone is sitting on the toilet like the guests at the erstwhile dinner party in Luis Bunuel´s "Le Fantome de la Liberte"(1974); then, one by one, they occupy the toilet in order to eat.
(Harald Szeemann _ blut und honig _ sammlung essl _ 2003)

The artistic tandem son:DA combines audio-visual experimenting and the study of sound, space, moving images and still pictures. In their work, the artists focus on different techniques and media, they work with different materials and use different methods – from digital to analogue processes. So, these computer images are created in the Photoshop software, where each line is made by hand using the mouse as the interface. The drawings depict detached, impersonal high-tech environments where they themselves belong, just like the artists themselves belong to the same paradigm of information technologies. Due to the plastic material serving as the surface onto which these images are plotted, they can be used as some sort of contemporary tablecloths, rugs, or simply paintings. The impreciseness of the perspective is masked, or perhaps even emphasized either by the surface-like two-dimensional net of cables, or by an almost ornamental pattern of repetitive machines. In the image showing the rear side of computers, the innards of machines, and the connections between them, we do not see a face in either the machine or the human being. But this is not to be mistaken with bashful concealment – for the second image shows us the users of this computer hardware as literal de-personified machines, sitting naked in the middle of an intimate internet experience, or simply immersed in their own consumerist pragmatism. This seemingly naïve visualisation with the trembling line and the choice of dull pastel colours is a clear and precise criticism not only of the rapid rise of consumerism but also of the consequential understanding of work as a market commodity. Obsessively drawn networks of people, machines, cables and (in)compatible adapters present, at once, both the image of detached communication and the utopia of community. General criticism of evolutionistic myths of technologic development in the context of a small and young country which has affirmed its visual identity through the advertising campaign for mobile telephony, or the metaphor of disconnecting from the old stationary/static network as a pre-condition for new, wireless global interaction, provides additional identifying weight to the works of the tandem son:DA.
(Igor Spanjol _ blut und honig _ sammlung essl _ 2003)

Themes of the drawing made by a computer mouse are fetishized detalies of modern interior, such as sockets, distributors, cables, plug-ins, mobile phone chargers... These are installed on the walls in the exhibition and public spaces in almost sacral manner, although satirical connotations to technological world are obvious. More monumental formats include genre images of the 17th century Holland interiors (common people in common environments), but they are transferd into future. Allusions are made to paranoid visions of the captured urban person, who is connected with cabels to a tarumatic social enviroments of survival.
(Kibela.Kibla _ multimedia mxhibiton _ 2004)