Stop Motion part 1 and part 2 (2023)
Each piece began life as a hand-drawn sketch. Throughout the drawing process, I photographed the resulting image to reveal the decision making process towards completion. The stop motion process introduced elements of light interference making each image a unique snapshot in time. For example, the changing sunlight through the studio window created shadow patterns across the paper. Occasionally, I would knock my work table accidently causing the camera to be misaligned. All these characteristics stand in stark contrast to exactness of computer generated images. Analogue approaches are used throughout my creative practice and act as a foundation for further digital processes.
The sound material consists of many different electronically produce sounds from modular analogue synthesizers and environmental sounds captured at different geographical locations. The process of listening to the audio recordings helps to identify characteristics. The environmental sounds are drawn from a diary of sound recordings captured on my phone. Soundscape recordings provide a shifting temporal dimension, its in a constant flux, similar to analogue signals of modular synthesis. Both are unpredictable in nature. The variation of the sound material contrast and juxtaposition of the material allows a freedom to experiment with the medium. At the early stage sound objects provide a topological to process further in the composition of electroacoustic music.
To process the sound, I designed a series of algorithms that allow myself to interact with the machine directly. The technical mastering to design a circuit to generating mistake and mishaps its in itself By allowing chance and experiential happen and not knowing what I will undercover are exciting and simulating moments of not knowing what will happen next – these studio happens events are edited to form the piece.
I seek audio-visual connections, a pairing of both light and sound phenomena drawing from own personal
Reliving the feeling of these moments in time
My practice combines original fine art practices and electroacoustic sound.
Research audio-visual works created with Oliver Carman for The Interdisciplinary Centre for Composition and Technology (ICCaT), based in the Department of Music at the University of Liverpool, investigates how music composition and sonic art forms intersect with new technology, performance and perception.