“I should be doing something.” So says a gentle, uneasy voice on Clay Gold’s work for headphones. I imagine a figure sat in a living room, poised awkwardly on the edge of a chair and absently ingesting the birdsong that trickles in through a window overlooking a garden, while
Martin A. Smith
The audience for Martin A. Smith’s live scoring of L’Inferno sat tucked in one corner of V22’s empty warehousing space, barely occupying a fraction of the cavernous room. Nevertheless, the entire space was utilised: once for its striking acoustic properties, and again for the atmosphere that subsumes
Your exhibition explores sound’s interaction with “the spirit of place, memory and environment”. What methods have you used to explore this? I have tried to use a variety of sounds, music, and field recordings to capture the essence, feel or emotional response to the landscape or sense of place.
In a space barely bigger than your average living room, Robert Curgenven and his audience of twenty sit surrounded by speakers in absolute pitch black. Robert himself is at the front, legs crossed, operating various Walkman CD players by light of a mobile phone, triggering drones and field recordings that
Taking its primary inspiration from the striking expanse of the Camargue area in the South of France, Salt gradually pieces together a dynamic and intriguing landscape throughout its 14 compositions – whilst I’ve never visited the Camargue myself, I reach the end of Salt with some very distinctive mental visuals