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Corner Corner Volta Flip/Kate Briggs

Corner Corner Volta Flip 2

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.

Read more about Corner Corner Volta Flip

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Wave Shift/Natasha Russell

Sura Medura ExhibitionWave ShiftWave 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 were 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.

Wave Shift At The BriggaitIntegrating with the structure and printed visual landscape with the set, my Wave Shift audio was projected into the space as an immersive, abstract, evocative soundscape. 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 underpinned the work, composed with a series of hydrophonerecordings, 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.

The installation was exhibited in 2017 at Sura Medura Exhibition, The Briggait, Glasgow and then Summerhall, Edinburgh

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At First Light selected for Installation

tomorrow-installation-lcgaTOMORROW, TODAY WILL BE YESTERDAY

The collective Sound/Video Art Installation Tomorrow, Today will be Yesterday was conceived and curated by Rui Almeida in 2015 and includes my vocal work  At First Light.

In 2015, The initial event was held from 3-4 October 2015 in the  Guimarães NocNoc Festival, Portugal. Next, it was installed for two months in Gallery #3 at the CAAA in Guimarães, Portugal  from 12th December 2015 until February 13th 2016, and then at the Media Arts Festival, ELO, Victoria, Canada.

In 2016, The same installation was on from 3rd – 6th November at the Limerick City Gallery of Art (LCGA). The event is part of Light Moves Festival of Screen Dance.

Tomorrow CAAA Installation

The artists involved are: Alfredo Costa Monteiro (PT/ES), Artificial Memory Trace (Slavek Kwi) (CZ/UK), Darius Ciuta (LT), Elisabetta-Senesi (IT), Fernando Ribeiro (PT), Iride Project – Massimo Davi & Monica Miuccio (IT/IE), John F. Barber (US), Juan Carlos Vasquez (CO/FI), Lin Culbertson (US), Loren Chasse (US), Luigi Morleo (IT), Luís Antero (PT), Manuel Rocha Iturbide (MX), Mathieu Ruhlmann (CA), MUfi.re (PT), Nichola Scrutton (UK), Nuno Miranda Ribeiro (PT), Osvaldo Cibils (UY/IT), Paul Collins (CA/FR), Philip Mantione (US), sonosFera (PT), Steve Roden (US), Takamitsu Ohta (JP), Una Lee (KR/UK).

 

 

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Good Days Bad Days/Martin O’Connor

A sound installation created in collaboration with writer/theatre-maker Martin O’Connor.

Good Days Bad Days wordsMartin and I undertook a 5-month research and development period with Glasgow’s North East Recovery Community commissioned by Platform-to-Health and GRAND (Getting Real About Alchohol N Drugs). Participants were engaged in conversations focusing on remembering their first and last alcoholic drink, to open up bigger discussions of childhood and family life; living conditions and wider society in Glasgow and the impact of addiction and recovery on individuals and communities.

 

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These conversations formed the basis of an immersive sound installation that was staged at Platform Glasgow and as a headphone installation at Outskirts Festival in 2016. The installation was a development for Martin’s live show The Mark of the Beast in 2018.

 

 

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KPC Sound Mix/GI Festival of Visual Art

KPC Sound Mix is a sound artwork commissioned by Kinning Park Complex and Open Jar Collective for Broth Mix – a food-based project that will run in KPC for two weeks during Glasgow International Festival of Visual Art from 7th – 14th April 2014.

The sound artwork is a collage of field recordings, interviews, and music clips that presents a snapshot of KPC. The piece  will be available on MP3 players with headphones at KPC during the two-week period and can be downloaded here at KPC Sound Mix.

Many thanks indeed to all the contributors!

Interviews and field recordings

Ammy Jay, Amrik Kanr, Anne Davidson, Catherine Weir, Chris, Clem Sandison, Helen Kyle, Kinning Park Complex, Lindsay Keenan, Nicole’s dance class, Reuben Chesters – Locovore, Women’s cooking/gardening group

Music Clips

Death Rattle/Tricky
Erin Scrutton, Nichola Scrutton, Kirsty Ewing, Barbara Chalmers, Michelle Drumm

Luskentyre and Stevie Jones
Martin Douglas (tuba)

Sokobauno Puppet and Object Theatre
Shane Connolly (composer; reading; performance – accordian, percussion), Stevie Jones (recording), Alasdair Roberts (guitar), Georgie McGeown (flute)

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Lateral at here.now.where Marrakech

Lateral has been selected for here. now. where? – a project in which a collection of soundscapes from different ‘sensibilities, languages and formats’ will be diffused inside local taxis through the sound and radio art platform Saout Radio. The project is curated by Younes Baba-Ali and Anna Raimondo and seeks to explore a notion of ‘delocalisation in the present moment through the experience of listening in the urban space’.

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HearAfter

Ohrenhoch Gallery, Berlin

Originally produced by the Gallery of Modern Art, HearAfter was installed in the Round Room on the 2nd floor balcony from 25th October – 2nd December 2013.

HearAfter is a contemplative, immersive pre-composed sound installation inspired by the life cycle, memory, and the process of decay. HearAfter is a pun on ‘hereafter’, which means ‘in the time to follow’ and is often associated with questions about experiences after death. With this in mind, the piece HearAfter, through the present moment of a listening experience, at one level might be heard to tap into memory – a sense of something past, gone, altered or retold, but at the same time could suggest a kind of anticipation of a future that is both factually certain yet remains unknown.

While the human voice is often considered primarily as a communicator of words, I am artistically interested in its potential as sonorous, expressive and sculptural material. The sounds of breathing and an array of vocal gestures weave together with other abstract sounds into a collage of overlapping cycles and collisions.

Producer curator Katie Bruce talks, after the preview, about our first meeting and the HearAfter work at the GoMA blog

Performances

2014
Transnational Express, Auricle Sonic Arts Gallery, Christchurch, NZ
Ohrenhoch Sound Gallery, Weichselstr. 4912045 Berlin-Neukölln

2013
25 Oct – 2nd Dec, Gallery of Modern Art, Glasgow, Scotland