Within every sound, there is a story. Every sound no matter how minimal has a unique set of characteristics which give it personality. When sounds occur together, they then take on a new story, what they’re ‘saying’ is altered as their personalities merge. It is through time that sounds are connected. The primary narrative is the culmination of all the individual parts.
My intention is to develop an understanding of sound as a language and present this idea as an installation, by using sound compositions and accompanying visual content to support the message.
Sound is capable of communicating things words aren’t. This idea is central to my obsession with the medium and is a key factor in the theoretical basis of my developing practice. Much of my previous work has tried to construct a narrative through the use of sound, which has given mixed results. It has become apparent to me that in order to tell a story, you must first establish a language. To this end my direction is to take a step back, in order to move forward.
A lot of my time in early first semester has been spent focusing on specific sounds and documenting what they mean or ‘say’ to me. The purpose of doing this is to create a database of sound types with accompanying definitions. This way I can develop an array of information about sound types in order to establish a more concise working process. My experimentation has taken two sides, the database construction being considered and text based, the other being raw trial and error. I've been working with Sound Collages - a product of a 'Scrapbook' aesthetic - sounds are recorded based on a central theme and 'scrapbooked' together. They're cut roughly and slapped into place in their raw form. It is the central idea that binds the layers together and if the work is successful, it is this foundation that will be understood by others.
I've found that when an idea is broken down to a core emotive charge it becomes a much easier point to get across. As an example I recently worked on creating a sound piece which dealt with the initial stages of grief – despair, numbness and isolation. In my development of my sound/definition database I’d found that the use of thick reverb qualities are effective in giving a feeling of isolation. It gives an impression of space – in this case, one that is alienating and desolate. This is an example of an improving workflow - utilising my growing database to know exactly what types of materials I need to accommodate my intentions.
The foundations for an artistic exploration of sound have predominantly been laid around re-contextualisation; taking the sounds of one space and presenting them within another. This has been done to beautify the mundane and heighten awareness of the sounds around us.
The majority of the recording process has so far been conducted in a large, mostly unused building in the Gasworks Village. I chose this space for its age, height and uniqueness, it's a space I have access to and it's due to be renovated into a functioning business space within the next year. The experimentation that has taken place within this space has investigated certain sites that have a particular resonance, placing microphones in different rooms or on different levels to the source of the sound and recording through instruments which react to vibrations by adding their own resonant qualities. The sounds this space has produced are rewarding, I feel that they have potential for development beyond relocation.
The new aspect I'd like to incorporate into my installation is the idea of ceremony or worship - to present sound as a sacred entity. It seems to fit a logical progression in the evolution of a sound based practice. First, to have an awareness of sound in the spaces we occupy, then re-contextualise them into subjects of appreciation, develop that appreciation into an understanding of the expressive capabilities that exist within the content - its language - and learn to acknowledge these possibilities with reverence.
Influences which inform this direction stem from a variety of disciplines. I’ve always been inspired by the presence of ‘the sacred’ and elements of mysticism in the paintings of Alex Grey. As with many works of art I often find myself imagining what these paintings would sound like. Greys’ Clear Void bares a connection to the ambient collages I’ve been working with.
The sound compositions of Dylan Carlson are focused around the use of a slow tempo. This emphasizes attention to detail, the result is relaxing yet stimulating. As is the work of Stephen O’Malley, his oppressive, droning sound works consciously spark ideas of a ceremonial event.
Aaron Turner is another strong influence in this line of work. Turner is a contemporary artist and musician who creates interesting sound-scapes and compositions in collaboration with other artists. I’m particularly interested in his ability to match imagery to sound in a cohesive manner.
My submission for this semester consists of a playlist of collages which best encapsulate my intentions. It will also include other experiments which don’t, as well as multiple forms of documentation which explain the processes undertaken and reflect on how or why certain approaches did or didn’t work.
My proposed outcome for the graduate exhibition is to use the best of the material captured from experimentation and incorporate that amongst a soundscape which will be the key informing element of the installation. Much like some of the spaces I've been recording in, I'd like to situate the installation in a space with floorboards and minimal cement, to allow sound to sit comfortably.
I will incorporate visual cues into the installation to articulate what's happening aurally. I see these consisting of slowly fading still images - which will be projected onto black cloth. Being cast onto dark material and a slow pace is to ensure the visual elements remain purely supportive so as not to distract from the key information presented aurally. The cloth will be symmetrically hung as a triptych. To make the installation more engaging I've begun drafting an interactive element into the installation plan. As with the visual element this aspect will be nothing too distracting or overriding. The interactivity would be based on proximity, so an ideal 'experience point' is marked and when people approach that point in the space it activates certain compositions within the soundscape and subsequently the linked visuals. Incorporating the element of interactivity will also help to mask 'loop points' or any obvious signs of linearity.
In the planning stage, it's important for me to take measures to overcome problems pre-emptively. The visual and interactive elements of the installation are being aided by collaboration and I’ve made sure I’m being largely self-sufficient with necessary equipment.
In a way I feel like I’ve always wanted to work in this line of ambience and collage. Working this way feels matured and the results it’s bearing feel a lot less like music and a lot more like art. This has been reflected in reactions and feedback I’ve been given on these collages which gives me the confidence to keep digging deeper, experimenting with and exploring the language of sound.
No comments:
Post a Comment