Audial-Optics Workshop & Performance at the San Mei Gallery
(Photo's taken by B. Victor Waggett, Hand Controller by Milan Tarascas)
Audial - Optics
Saturday 1st December 2018
Workshop 1pm-4pm
Performance 6pm
Audial-Optics is a one-day sound and visual art workshop culminating in an evening performance at the San Mei Gallery.The workshop will run from 1-4pm and invites attendees to create visual works in response to sounds played throughout the space. There will be three stations set up with materials provided for participants to interact with.
In the evening the gallery will re-open for a performance, in which three improvisers will be invited to reinterpret the visual outcomes of the day's workshop as graphic scores. Resulting in multiple new pieces of now communally composed music.
Contributions for the initial sound piece & performers:
Saskia Hubert (Rites of Unison)
Tom Boutwood (Thomas9000)
Adam Barkley
Mel Azevedo
OHM - MOBBS (MOBBS/NTS)
Alex Mckenzie
Zhao Mi
Ellie Wang
Milan Tarascas
Ben Victor Waggett
Rory Salter
Poster by B. Victor Waggett http://www.victorwaggett.co.uk/
Saturday 1st December 2018
Workshop 1pm-4pm
Performance 6pm
Audial-Optics is a one-day sound and visual art workshop culminating in an evening performance at the San Mei Gallery.The workshop will run from 1-4pm and invites attendees to create visual works in response to sounds played throughout the space. There will be three stations set up with materials provided for participants to interact with.
In the evening the gallery will re-open for a performance, in which three improvisers will be invited to reinterpret the visual outcomes of the day's workshop as graphic scores. Resulting in multiple new pieces of now communally composed music.
Contributions for the initial sound piece & performers:
Saskia Hubert (Rites of Unison)
Tom Boutwood (Thomas9000)
Adam Barkley
Mel Azevedo
OHM - MOBBS (MOBBS/NTS)
Alex Mckenzie
Zhao Mi
Ellie Wang
Milan Tarascas
Ben Victor Waggett
Rory Salter
Poster by B. Victor Waggett http://www.victorwaggett.co.uk/
Cellphen Studi LGSP
A painting used as a graphic score, initially intended to be played on a synthesiser.
Exhibited at UAL's London College of Communication, June 20th-24th 2018. Audio to be published soon.
Exhibited at UAL's London College of Communication, June 20th-24th 2018. Audio to be published soon.
Graphic Scores, Paintings, Sculptures & Collages
Exhausting Burgway Ear-well, Performances for Human & Object Performers
Exhausting Burgway Ear-well invites the audience to consider a durational performance, one where a human presence is not always necessary. At points both object performers and human performers play together and in other moments the object performers are left to perform by themselves. The pieces lasts for 4 days, with a different performance on each day. The first is a collaborative performance between the human & object performers, in which a kinetic score will be created and performed simultaneously with painting, movement and a synthesiser. The second day will focus on the object performers. The third day sees the return of the human performers. Human performers will drum onto the object performers; either re-creating everyday rhythmic happenings translated through audio scores, pieced together from field recordings taken at the sight where the object performers were found. Or improvising rhythmic patterns with an attention to the tonal richness and resonances of the object performers. On the fourth day the object performers are left alone in the space again. Each performance lasts for as long as the space is open to the audience.
Exhibited at UAL's London College of Communication, June 20th-24th 2018
More photo's, videos and audio recordings will be published soon.
Exhibited at UAL's London College of Communication, June 20th-24th 2018
More photo's, videos and audio recordings will be published soon.
Le Carnaval des Animaux and Danse Macabre Group Exhibition at San Mei Gallery - Haise Pount
'An evening of interdisciplinary sound, art and performance. The works have been made in response to Le Carnival des Animaux and Danse Macabre, two pieces of music written by the French composer Camille Saint-Sans. Paintings, sound pieces, films, sculptures and performances will navigate the fourteen movements of the light-hearted suites of the carnival and culminate with the symphonic poem of the dance of death.
The event brings together a broad range of practitioners from across Europe and Asia in one space to mark the start of a new multi-platform venue in south London.'
- Overture - Haise Pount
- Introduction & Lion - Haise Pount
- Hens and Roosters - Joe Highton & Victor Ruiz Colomer
- Fast Animals - Chanthila Phaophanti
- Tortoises - Ernie Wang and Rikki Tarascas
- Elephant - Eleanor Wang
- Kangaroos - Flora Bouteille and Heloïse Bouteille
- Aquarium - Kara Chin and William Leach
- Long Ears - Tom Chisholm
- Cuckoo - Valerie Kong
- Aviary - Jezmi Fehmi and Matthew Carey
- Pianists - Alex Ho and Livia Wang
- Fossils - Sophie Spedding
- Swam - Milan Tarascas
- Finale - 林奕碩 (Lin, I-Shuo) and Rose Ryan
- Danse Macabre - Teddy Truneh
Below are some photo's of rehearsals, setting up the exhibition and a link to the sounds created by Haise Pount (myself and Louis Pennington).
The event brings together a broad range of practitioners from across Europe and Asia in one space to mark the start of a new multi-platform venue in south London.'
- Overture - Haise Pount
- Introduction & Lion - Haise Pount
- Hens and Roosters - Joe Highton & Victor Ruiz Colomer
- Fast Animals - Chanthila Phaophanti
- Tortoises - Ernie Wang and Rikki Tarascas
- Elephant - Eleanor Wang
- Kangaroos - Flora Bouteille and Heloïse Bouteille
- Aquarium - Kara Chin and William Leach
- Long Ears - Tom Chisholm
- Cuckoo - Valerie Kong
- Aviary - Jezmi Fehmi and Matthew Carey
- Pianists - Alex Ho and Livia Wang
- Fossils - Sophie Spedding
- Swam - Milan Tarascas
- Finale - 林奕碩 (Lin, I-Shuo) and Rose Ryan
- Danse Macabre - Teddy Truneh
Below are some photo's of rehearsals, setting up the exhibition and a link to the sounds created by Haise Pount (myself and Louis Pennington).
Exhausting Burgway Ear-well
The title of this work has been synthesised using references to geographical locations and the conceptual framework of the piece. It camouflages explicit details about the identities of the objects assembled in the room in an attempt to abstract them from the viewers’ preconceived notions of their forms. Many of these objects will have experienced as much as you or I. As a fly on the wall or at the heart of a system, unable to communicate these moments literally to others – nevertheless, bearing the impacts of these experiences.
The objects stand in the performance space, abstracted from their purpose decided at their origin or mutation. Although this new arrangement has been dictated to them we are now able to observe them in a new situation, causing a shift in our perception of the objects. The piece takes its form as a collaborative performance between both object and human performers. Exhausting Burgway Ear-well invites the audience to consider a durational performance, one where a human presence is not always necessary. At points both object performers and human performers play together. Human performers drumming onto object performers. Either re-creating everyday rhythmic happenings translated through audio scores, pieced together from field recordings taken at the sight where the object performers were found. Or improvising rhythmic patterns with an attention to the tonal richness and resonances of the object performers. In other moments the human performers will leave the performance space, becoming absent, it’s at this time that the object performers will continue the performance. No longer sounding but communicating with the audience through their presence in the room and the engraved physical impacts of past experiences. In these moments of the performance the object performers’ ontology invites the audience to contemplate the objects’ identities, in turn it allows us to question the importance (non-importance) of a human presence in a performance. The object performers are just as vital to the performance as the human performers, it simply involves a difference in approach to communicate with them.
The objects stand in the performance space, abstracted from their purpose decided at their origin or mutation. Although this new arrangement has been dictated to them we are now able to observe them in a new situation, causing a shift in our perception of the objects. The piece takes its form as a collaborative performance between both object and human performers. Exhausting Burgway Ear-well invites the audience to consider a durational performance, one where a human presence is not always necessary. At points both object performers and human performers play together. Human performers drumming onto object performers. Either re-creating everyday rhythmic happenings translated through audio scores, pieced together from field recordings taken at the sight where the object performers were found. Or improvising rhythmic patterns with an attention to the tonal richness and resonances of the object performers. In other moments the human performers will leave the performance space, becoming absent, it’s at this time that the object performers will continue the performance. No longer sounding but communicating with the audience through their presence in the room and the engraved physical impacts of past experiences. In these moments of the performance the object performers’ ontology invites the audience to contemplate the objects’ identities, in turn it allows us to question the importance (non-importance) of a human presence in a performance. The object performers are just as vital to the performance as the human performers, it simply involves a difference in approach to communicate with them.
Kinetic Score for Objects and Synthesiser – Collaboration with Ruby Barclay
This work experiments in connecting the audial and visual through the kinetic energy of the performance, and the creation of the score itself. It re-organises both artists compositional practices, allowing intuition and improvisation to form the basis of the piece. Rather than separating the time in which the score is composed and then played, they initially happen as a single performance. The piece begins with the first mark on the score. The sound follows both the gestural movements of the painter and the shapes painted. The painter uses a variety of materials to build textures that in turn, inform the playing of objects acoustically in the room. They begin to affect each other as the painter recognises the different sonic textures occurring throughout the piece. The score is constructed until the painter feels it is complete. Following this the score along with audio and visual recordings of the performance are transformed into another score. This time all elements of the original performance instruct a performance of this second score for synthesiser. This is again recorded in a single take and forms a second sound piece alongside the audio recording from the original performance. The work is presented as two sound pieces along-side an image of the score.
