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. And thanks to Lise for recordings, chat and tech support.
The Mark of the Beast is 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.
13th – 15th April, Platform, Glasgow
19th April Scottish Storytelling Centre, Edinburgh
Background to Good Days Bad Days
Working in collaboration with writer Martin O’Connor, Good Days Bad Days was a 5-month research and development project 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.
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 research was preliminary work for Martin O’Connor’s spoken word/theatre work The Mark of the Beast, which we developed for Martin’s performances at Platform, Glasgow in 2018. (***** The Herald)
Radiophrenia invited myself and writer Zoë Strachan to collaborate on a Live-to-Air commission. In our collaboration we explored the state of being In Transit and how it disrupts the interior monologues of two people on separate but overlapping journeys of a slightly mysterious kind.
Radiophrenia is a temporary art radio station broadcasting from the CCA in Glasgow. In 2016 it produced a two-week exploration into current trends in sound and transmission arts.
5th Sep, Radiophrenia, CCA, Glasgow
24 Stops broadcast…
Radiophrenia is currently broadcasting 24 Stops.
24 Stops was written and performed by Sarah Tripp and composed for radio by Nichola Scrutton
It is very exciting to hear the chimes as they were intended when originally created by Sarah Tripp. Furthermore, Radiophrenia 2016 festival is a perfect setting to listen to them, every hour on the hour for 24 hours amongst such a wealth of radio and sound art…
Good Days Bad Days Sound Installation
Good Days Bad Days is a new work created in collaboration with writer/theatre-maker Martin O’Connor. Initiated by Martin, the work explores issues/ideas around alcohol and addiction in Glasgow.
From November 2015 – March 2016 we worked with participants from six recovery cafes in the north east of Glasgow (NERC – North East Recovery Community) as part of our research and development.
The end of this phase culminated in a sound installation I composed incorporating the voices and stories of the NERC.
27th March, installation, Platform Glasgow
April, headphone installation, Outskirts Festival, Glasgow
24 Stops Radio Artwork
I was delighted to collaborate on 24 Stops with Sarah Tripp…
“The work is a sequence of hourly chimes, one for each hour of the day. The chimes combine percussion and spoken word to reflect the character of a given hour and mark the passing of the day.
‘24 Stops’ was written and performed by Sarah Tripp
Composed for radio by Nichola Scrutton.
Percussion was performed by Nichola Scrutton, Fritz Welch and Mark Vernon and recorded by Iain Donnelly.
‘24 Stops’ was developed on the inaugural Radio Writing residency at Camden Arts Centre with the support of University College London Hospital Arts.”
Photos courtesy of Sarah Tripp