projects

'vibrating stings' vibrating stings
'variations on a theme' variations on a theme
'pattern study' pattern study
'irreality' irreality
'irregular atmospheric motion' irregular atmospheric motion
'ephemeral' fluid variations
'bordun chorus' bordun chorus
'fluid variations' fluid variations
'harmonic environment' harmonic environment
'temporality' temporality
'green meadow' green meadow
'multitudinous entity' multitudinous entity
'which is
without being'		 which is without being
'primordial' primordial
'clouds rising
from the mist
of time'		 clouds rising from the mist of time
'iridescent self' iridescent self
'shifting view' shifting view
'toxic waste' toxic waste
'burning butterflies' burning butterflies
'lament' lament
'exercise in visual notation' exercise in visual notation
'screen test #2' screen test #2
'nothing' nothing
'silent cry' silent cry
'suppressed anger'   suppressed angerger
'DBP'   DBP
'out of reach'   out of reach

iridescent self

2011
non-durational live generative
sound and video installation
 

 

5min 8sec audiovisual recording of ‘iridescent self’

‘iridescent self’ is an non-durational generative audio-visual installation.

Sound and image of the piece are to be seen as a continuous visual and acoustic environment combining vivid colour and abstract imagery with rhythmical and melodic elements. Change and development within these predetermined structures is the result of chance operations; external

‘iridescent self’ installation photo from ‘You are not in Control’

influences as well as various ongoing analytical procedures scrutinise the occurring melodic events and certain randomised aspects of the work in order to create a holistic relation between the individual elements.

The objective of this cross analysis and cross influence of different aspects of the piece is the creation of a quasi-fluid system, reflecting on and, to a degree, imitating natural acoustic environments or identities. This means that while the pre determined element in the acoustic range or ‘vocabulary’ produces distinctive acoustic qualities, once the work becomes active the use of these components is indeterminate and develops over time, generating unique outcomes.

The physical element of the work forms an elaborate frame, anchoring the time-based aspect in its current surroundings, by lending the work an almost outer worldly, alien presents.

Suspended in space the entity that is ‘iridescent self’ looks down to its audience, observing its spectator and surrounding metaphorically as well as through the use of a web camera. As a reversal of roles, this instinctive dialogue, manifests itself within the blurred boundaries of the observer and the observed and could be symptomatic of an attempt to seemingly stimulating, and portraying the eternally willingness to enter into a dialogue with the world, whilst incapable of articulating in the same language.



 

‘iridescent self’ installation photo from ‘You are not in Control’

‘iridescent self’ installation photo from ‘You are not in Control’

 

Installed at ‚’You are not in Control', 2011 (70 cm MDF cube covered in white velvet, metal wire suspensions), Netil House, London, UK
Organised by submit2gravity.

 


 

Installed at ‘Absinths and Presents’, 2011 (50 cm MDF cube covered in white velvet, metal wire suspensions), The Brewhouse Gallery, Taunton, Somerset, UK

‘Absinthe and Presents’ installation photo

Five international artists, chosen for their wide range of artistic media, aim to represent objects and materials in new ways that give immediate visceral visual pleasure. By making a collision of the precious and the everyday, the artworks balance a duality of image and concept. This exhibition aims to be on the cusp of delight and disgust. The title and theme for this exhibition, Absinthe And Presents, is derived from the Freudian dialectic of Absence And Presence and is used as a metaphor that places an emphasis on excess. In the words of poet Edward Dowson "madder music and stronger wine".

‘Absinthe and Presents’ installation photo


A strong emphasis was placed on the process of creating one installation incorporating 5 individual art works through an increasing dialogue between the artists in the run up to the exhibition, climaxing into a prolonged installation period at the Brewhouse Gallery space. Creating and manifesting a dialogue between the individual works as a result of this, was hereby of equal importance to the integrity of the self-contained artistic visions of the selected artists.

The curatorial aim of the exhibition ‘Absinths and Presents’ was a semi collaborative process between the artists Ittirawee Chotirawee, Emma Hammarén, Francis Ives, Jockel Liess and Taryn Takahashi.

‘Absinthe and Presents’ installation photo

 

‘iridescent self’ installation photo from ‘sho-zyg’

 

"iridescent self' installed at Sho-zyg.

A week-long showcase of sound installations, soundscape compositions, moving image work and evening events from artists at Goldsmiths, University of London, alongside exhibition rooms exploring the work of pioneering British musician Hugh Davies, the life of Daphne Oram, co-founder of the BBC Radiophonic Workshop, and the poet and visual artist Lawrence Upton.

Supported by Goldsmiths Sound Practice Research.
Curated by James Bulley & Kathrine Sandys.

‘iridescent self’ installation photo from ‘sho-zyg’
 

‘iridescent self’ installation photo from ‘sho-zyg’

 

Installed at ‚’Sho-zyg', 2012 (70 cm MDF cube covered in white velvet, metal wire suspensions), James’s Hatcham Church, New Cross, London, UK