[dropcap character=”M”]y approach to the sonic domain has always been informed by a Sculptor’s perspective, emphasising the experiential nature of sound that links sonic events to the dynamic, material events that produce them, as well as to the architectures and environments that contain and propagate them.
[dropcap character=”T”]he current work “Interferences” (a.k.a. “Virtual Spirit”) would at the first encounter appear to disqualify itself from the definition of Sound-Sculpture by virtue of its apparent muteness. The principal function of the work, however is, to manifest an aura. A low energy electro-magnetic field, drawn from the atmosphere by the primitive antennae devices, flows through the coils that encircle the larvae. These crude technical devices resonate in an infinitesimal manner and thus in it’s own way sings.
[dropcap character=”O”]ne of our principal oversights is to demand that nature exists only by virtue of our own sense organs. Like infants we carelessly assume that events which we cannot perceive do not exist. What the ear fails to hear is therefore mute. My proposal runs contrary to this conventional wisdom by claiming this work as first and foremost a Sound-Sculpture in recognition of the resonance that inhabits these circuits.
[dropcap character=”T”]hese are Sound-Sculptures that (for us at least) are simply inaudible.
Exhibited.
Watch This Space, Alice Springs, 1996.
Materials.
Steel wrenches, Copper Antennae, Scientific Glassware, Grubs.
Dimensions
10m x 3m x 3m.