A clip of my composition Lateralwill be included in BBC Radio 4 prog Shaped by the River Clyde. The programme is about artist and humanitarian George Parsonage, and features artist Minty Donald. Many thanks to Minty for including my work.
Minty originally commissioned Lateral as part of High-Slack-Low-Slack-High for Glasgow International Festival in 2012.
Following up that performance on Dixon Street by the River Clyde, I created a studio version, which has been broadcast internationally.
The starting point for Night Vision is a series of non-narrative texts captured through an experimental writing practice in the middle of the night lying down in a semi-conscious, or liminal, state.
This is a very different artistic approach for me. Early inquiries were focused on selection, how to interact with the texts, and what happens when these words/sounds are given voice off the page?
The work was initially developed at Rough Mix, Magnetic North’s creative development programme. The residency was held in Perth Theatre in January 2019. Big, big thanks to Magnetic North and the artists and performers involved in the residency. Thanks to Lorna, Neil, Ian and Laurie for the first performance sharing of Night Vision.
I was delighted to collaborate on the audio form for Kate Briggs written piece Corner Corner Volta Flip, which was part of ‘How Forms Live’ at the Mitchell Library for Glasgow International Festival of Visual Art. The work was set up as a headphone installation in the Poet’s Corner.
The Mark of the Beastis a collaboration with writer/theatre-maker Martin O’Connor that explores issues/ideas around alcohol and addiction in Glasgow.
Between November 2015 to March 2016, Martin and I undertook a period of research and development, commissioned by GEAC Platform-to-Health and GRAND (Getting Real About Alcohol n Drugs). Working with the North East Recovery Community.
At that time, I composed a sound installation Good Days Bad Days, incorporating the many voices/stories of participant’s experiences. For The Mark of the Beast, I re-visited and re-composed that material for Martin’s live solo show.
Listen out for Sarah Tripp’s Radiophrenia commission online or at 87.9fm. First transmission is at 6pm on 14th Nov 2017 with a repeat broadcast at 6pm on 15th Nov.
“One Hundred Glass Brains Waking Up is a fictional conversation between two people who begin as strangers. Without any prior social bonds they discover they are free to make each other up. This is escapist fiction pared back to two people in a room looking for a way out of social stultification.”
Performed by: Brighton Upton Trust
Composed by: Nichola Scrutton
Collaboration as composer/sound designer with writer/theatre-maker Martin O’Connor on his solo show Togail Nàisean/Building a Nation. We toured as part of a double bill with Aisling Oidhche Meadhan Samhraidh/A Midsummer Nights Dream and had a performance at Tramway, Glasgow in 2018. Read more about it at Martin’s website here.
Isle of Mull
Wave Shift was originally an experimental audiovisual collaboration with artist and illustrator Natasha Russell in response to the ideas and situations we encountered on the UZ Arts Sura Medura Residency in Sri Lanka. Natasha and I were in residence from October – December 2016, along with Sumit Sarkar and other visiting artists. Following the installation I re-worked Wave Shift into a stand alone composition.
During our post-residency collaboration, Natasha and I became interested in the way an understanding of the experience of a place shifts over time, between people, even at the drop of a hat. We decided to weave decaying memories, slippery facts and shifting folklores through sound and print to form a portable set that melts place and atmosphere into an imaginary landscape.
Integrating with the structure and printed visual landscape of the set, the Wave Shift audio component plays out into the space as an immersive, abstract, evocative soundscape composition. Source materials for the work included a selection of field recordings captured during the residency and vocal sound recordings. Both the main thread of sound that underpins the work, composed with a series of hydrophone recordings, and the form, which unfolds as a series of wave-like emergences, draw on myriad notions of water as a bridge between real and fictional landscapes.
Sura Medura Exhibition, The Briggait, Glasgow
Sura Medura Exhibition, Summerhall, Edinburgh
Sabda saha Pintura (Sound and Picture) was composed during the six-week Sura Medura residency with UZ Arts in Sri Lanka. Loosely speaking, the work is a collage using a selection of the field recordings I gathered during my time there.
Sabda saha Pintura had its first airing at our collective Moving Out event at Sunbeach Hotel on 26th November 2016 as part of the Colombo Art Biennale.