Photo taken by Carla Crafford at my Open Studio exhibition in Paris, Cite Internationale des Arts. Click to enlarge!
I believe this to be true of my work too. For example:
Photo taken by Carla Crafford at my final year exhibition, October 2011
The lights are so installed as to change colour and so that when one’s shadow joins the shadows of the objects in the installation, different colours of shadows overlap.
I’m finally done with my Honours in Fine Arts. The 30th of November I’m leaving for the artist residency in Paris, Cite Internationale des arts. Can’t wait! I will soon post images of the final exhibition.
Just a few photos so that one can get a general idea of the atmospheric content of my installations
I can’t wait for the exhibition!
Working hard on my installations for final year exhibition on the 19th of October 2011!
"…there is no place where I am not simultaneous with the heard."
— Salome Voegelin, in Listening to Noise and Silence: Toward a Philosophy of Sound Art.
The first chapter of this study discusses the history of sound in the arts as well as socio-political circumstances that influenced the auditory sensation of sound, noise and music. This is discussed within the framework of past and reoccurring artistic movements in combination with changes in musical history. This chapter also intends to indicate a shift from purely ‘visual’ art to ‘audiovisual’ art, as well as the change in spaces (such as gallery spaces) in which both mediums are presented or exhibited. The second chapter aims to establish the properties or principles of sound art in comparison with or as identified in the visual arts, with reference to theories such as Nicolas Bourriaud’s theory on ‘relational aesthetics’. The third chapter applies aforementioned theories to the iconography and iconology of chosen artworks. This chapter aims to show the underrated presence of the corresponding relationship between the cross-disciplinary fields of the visual and the auditory, and how the combination of the two ultimately enhance atmospheric or embodied experiences of installation art, performance art, music, sound art and ‘soundscapes’.
I shouldn’t be killing time when it is the lack of time that will be the death of me.
Another photo taken at my most recent audiovisual installation piece, these are some of the revolving reflections that fall on the wall.
"Sound art is not ‘‘sound art’’, it is art that utilises sound to, as Ranciere notes, play the ‘‘game of exchanges and displacements between the world
of art and the world on non-art’’."
— The aesthetic ear: sound art, Jacques Ranciere and the politics of listening, Matthew Mullane
"Boom, there it is. Sound and signification. Sound as social text. Sound as bearer of social memory. Who’s there?"
— (DJ Spooky, Dark Carnival)
The idea of an exclusively live performed act is effective because it involves the participatory senses of the audience of that specific place and time, which is relational to that current environment and therefore unrepeatable. It can be proposed that performing identity should rather focus on the ‘live’ confrontational and multisensory nature of the act and not necessarily on the actual presence of the artist. Identity can also be conveyed by the performance which is choreographed or composed and installed by the artist. It can be argued that perhaps the artist as performer does not necessarily have to be the bearer of the exhibited identity, but rather that the artist can be the director, conductor, choreographer or composer of identity. The organizational structure of and objects arranged in a ‘sound event’ become the performers.
