April 3, 2016 § Leave a comment
My work This is Spiritual and Physical is showing at Seventh Gallery in Melbourne, through to 15 April 2016. Thank you to Kate Clark for her work on the soundscape.
This is Spiritual and Physical presents video shot in Scotland and Iceland over several years that documents farming and rural life and sites of pilgrimage. The imagery explores the physical and aesthetic characteristics of landscape use for work and that which is visited for its spiritual significance, and aims to elucidate the correspondence between the output of the work generated by a body performing repetitive labour and that generated by spiritual pilgrimage.
This is Spiritual and Physical, HD video with sound, 19m 16s, 2016. Stills:
September 27, 2015 § Leave a comment
I sing, an improvisation of sorts, within a five-domed concrete sculpture Tvisongur by Lukas Khne. Each dome produces a different tone, and the sculpture can be seen as a visualization of the five-tone harmony tradition. Tvisongur is in Seydisfjordur in the east fjords of Iceland. It is a 15 min hike up the side of a hill.
I took longer recordings, to be used as sound for an upcoming video work.
May 11, 2014 § 2 Comments
Richard Mosse, Still from The Enclave (detail), 2012–13, 16mm infrared film transferred to HD video, 39:25 mins. Courtesy: The artist and Jack Shainman Gallery.
I recently saw The Enclave, Richard Mosse with sound by Ben Frost, at CoFA Gallery in Sydney – and it was beautiful. In a large dark room six large screens all set apart from each other but all related, the internal four forming walls with two side flanking sceens diverting your attention with corresponding and contrasting images.
What I loved was the alternation between absurdity and normalcy. Some of the sequences looked staged, while others were so unique they could only have been of the moment. Aspects of lives that build around violence.
Seeing everything from low long sweeps of the landscape, to different urban centers of the Congo, to watching a local talent show, a funeral, a house moving. The remains of dugout houses of militia(?), hidden high on a mountain lookout. A rushing river and a bridge. The infrared film and use of stedicam give the images this smooth and otherworldly appearance, as if I was there as a sort of apparition.
The work was masterful in building suspense and tension for a moment that never came. I was left wondering what was I expected to be scared of? Was the tension indicative of the time, or have I been conditioned to align feelings with these kinds of scenes – people in uniforms, rhythmic sound, weapons, hiding and reveal.
February 16, 2014 § Leave a comment
These images were taken in Mývatn (which is a shallow eutrophic lake situated in an area of active volcanism in the north of Iceland). Specifically they were taken near the very small town of Reykjahlíð, where there are volcanic outdoor pools and baths. The water in the images is warm. The little islands are volcanic rock, the whole place is dark and silent and misty. I felt very outside myself here.
Then Kim reminded me of Laurie Spiegel and her work, Voices Within… the murmurs, (desires) of machines we have made, calling signs, the sound of process and function. I feel this is perfect music for these images.
November 17, 2013 § Leave a comment
Jessica Tremp || Nora Wendl & Jeremy Hanson || Lidia Malynowskyj || Léa Donnan || Alex Hogan || Marianne Dages || Lee Salomone || Philippe Braquenier || Margaret Bowes || Philip Samartzis || Sarah Burwash || Andrew Ranville || Rashanna Rashied-Walker || Melody Woodnutt & Judy Thomas || Justin Apperley || Stephen John Ellis || Katelyn Clark || Yongjae Kim
Cover image by Sarah Burwash
Download the issue at http://invisiblecity.org
INVISIBLE CITY is an online magazine dedicated to showcasing contemporary visual art, sound and film by emerging artists from Australia and around the world. Issues are themed (sometimes).
June 21, 2013 § 2 Comments
Film documentation of my installation A place prepared for sleep / Staður undirbúin fyrir svefn. 01:10, June 2013.
This film shows the delicate nature of the piece, specifically how each string corresponds with its neighbour – coalescing, diverging, moving in accord with the wind. In the background you can hear the waves of the Greenland Sea and birds calling.
The piece is situated on the cliffs of a peninsula, and the wind can have a strong affect on the waves of the sea in this area. A stronger wind produces vibrant movement by the strings, and also a corresponding louder soundscape from the sea. In time the sounds and the movement of the strings start to share a symbiosis.
It is at this point, at the realisation of the connection, that I start to focus off each specific string. It becomes part of my larger field of vision. The exploration of liminality in this piece, is how it draws out the space between the sound and physicality of a space. How the piece gives visibility to the surrounding sounds (which change), and gives audibility to that which is invisible in a sense (the way the wind passes over a certain place, the space just above the ground).
A place prepared for sleep marries these ‘in between’ aspects and in turn gives the space a grounding, or physicality. From there we can look at collectivity, and how we might share liminal spaces with others.
Documentation above by the inspiring Yogan Muller.
Please view in HD, headphones recommended.