Orbit, Fluouresce, Decay was a live quadraphonic electronic music performance using found sound.
Early in 2009 I was invited by Vaughn Sadie to consider some kind of a sound intervention for his upcoming solo show, Situation. It was a strange request, Sadie’s principle medium is light – quite removed from the physicality of sound. Sound and light are complementary, to be sure, but not related. You can’t make a recording of light without some intermediary to make it possible.
My body of work investigates the systems we utilize to attach value and meaning to the objects and things with which we surround ourselves. It is thorough my choice of materials and the seemingly disparate relationships between object and the self that I construct my own narratives around memory and mortality. The integration of video, photography and installation position these narratives between our immediate environment and the larger contexts in which we find ourselves. Built into my work is the ability of artificial light to manipulate and alter these objects and spaces, revealing only the aspects that are deemed suitable or necessary. This careful illumination acts as a mediator between the personal narrative and the social acceptability of the everyday.
- Vaughn Sadie
I had already decided that I would do a quadraphonic sound piece performed live in Audiomulch. Problem was, I had to try and think about what kind of sound I could gather in his exhibition. So I decided to hang around at the actual setup of the exhibition, I figured that at least the physical act of setting up the space might produce something interesting to work with.
I went to the setup at the bank gallery with my minidisc recorder, and I certainly did collect a great deal of bangs and loud noises you’d associate with setting up an installation. The revelation however, was that Sadie’s work did make noise. The relays that drove his huge fluorescent clock, the cooling fans on his projectors & the sound of a dying fluorescent light bulb, and so on. The sound of the components of the installation thus became the basis of the field recordings I worked with for the quadraphonic piece.
The piece followed a walk about by Sadie of his exhibition.
The response to the piece was surprisingly excellent. I had concerns that it may be a situation where people don’t actually listen. I expected they may be more concerned with the level of their drinks. This didn’t happen. I was overjoyed to find that the audience sat down on the floor of the gallery and listened. And then spoke about the experience in critical detail. One of the overwhelming observations was that the piece was not an alienated sound spectrum, but rather a melodic re-interpretation of the installation itself.