Everything Is In Motion is a new multi-turntable installation/kinetic sound sculpture that will be debuting at next week’s One Night In Footscray Festival.
The work is driven by four turntables underneath a series of suspended objects, striking items placed on each turntable. The suspension itself is sympathetic to the action below, it’s course and sway influenced by each strike on the objects circling underneath. Everything is in motion, nothing is stable.
The installation will run from 5-10pm on Friday 23 November, inside the MetroWest shopping arcade, accessible from entrances at 47 Paisley St, and the corner of Paisley and Albert Sts (near the Millennium Clinic). The preparations will be altered throughout the evening as part of a compositional structure I’ve written. Feel free to sit with the work and experience it’s rhythms for an extended period, or just drop in for a minute. It would also be worthwhile returning through the evening at different times to check in with how the work develops/decays, in between exploring other events as part of the One Night In Footscray festival (which are all free).
Fieldingis a new installation at RMIT that I’ve contributed a sound work to. Spend some time with it when you are in the area.
Text from Catherine Clover and Jordan Lacey:
This art/science collaboration has been a long time coming and it’s so rewarding to finally have it installed. The project addresses the role of sound in the greening of our cities and how sound is integral to a rich biodiversity in the complexity of the urban environment. It works as a prototype for potential applications across cities, and its impact on the site in terms of human well-being will be monitored throughout its installation (three months minimum).
Working with Jordan Lacey and Kim de Kretser we collaborated with scientists Sarah Bekessy and Freya Thomas. Through RMIT’s Landscape Architecture department via Jock Gilbert and Holly Hein, the structure was designed by students Meyrick Buchanan, Lewis Rosin and Winthur Fernandez, and realised by RMIT’s property services contractor Programmed. With audio contributions from Viv Corringham, Kathy Hinde, Leanne Waterhouse, Clinton Green, Sarah Edwards, Michael Graeve, Josh Wodak, Martin Kay, Camilla Maling and Angela Clarke. The soundscape was designed by MA student Sophie Gleeson using the compositional approaches of Pascal Amphoux and the interactivity by Industrial Design student Edward Rossi. A catalogue will accompany the launch (early November date tbc) which will include drawings by Jake Clover
Location: RMIT University Melbourne city campus in the Sunken Courtyard, close to Russell Street and borders the north wall of the old Melbourne gaol.
During my stay at the Museum of Innocence Mildura in November 2016 (as guest of the first MIM Artist-in-Residence, Ren Walters), I completed and installed my first visual artwork, called Order. This was not planned!
Music and sound are still very much a part of Order. The concept behind the work was to record the name of everyone who had performed in THIS Ensemble MkII (from early 2014 onwards). I spent some time creating a list participants, drawing on my own records and online documentation, photos, etc. Then I wrote each name on a brown paper lunch bag.
The original idea was to string them all up and suspend them with string, but when I first laid them out to photograph each bag together for documentation purposes, I liked how they looked and decided to leave them there on the floor. The next day, I gathered jacaranda petals from outside and scattered them over the bags (Mildura was alive with jacaranda bloom at the time). The piece was developing in stages.
Then I gathered up each bag, placing the petals in some of them as I did so, to hole-punch each corner and tie together with string.
The piece was then suspended in the central corridor of MIM for the last two days. I added a sonic element as well (see video below).
I am certainly not a visual artist, but it was great to have the opportunity to explore something new. I felt like it had a lot in common with my sound/performance practice as well – the centrality of process/stages, and the significance of objects/materials (brown paper has a significance for THIS Ensemble).