Stop Motion parts 1 and 2 (2023) began life as a series of hand-drawn sketches. At different stages of the drawing process, I would stop and photograph each image to reveal the temporal evolution leading to completion. The stop motion process introduced external elements of interference. For example, sunlight through the studio window created shadow patterns across the paper. Occasionally, I’d accidentally knock the work table causing the camera to be misaligned. These external real world characteristics stand in stark contrast to the exactness of computer generated images. Analogue approaches are a large part of my artistic practice and are used throughout my creative practice and act as a foundation for digital processes. The sound material is derived from many different sound sources; electronically produced sounds from modular analogue synthesizers and environmental sounds recorded at different geographical locations. Soundscape recordings provide a shifting temporal dimension in a constant flux, similar to analogue signals of modular synthesis. Both are unpredictable in nature. The variation, contrast and juxtaposition of the sound material produced a rich fabric of sound. The process of listening to the audio recordings helped to identify salient characteristics that appealed to my senses. I designed a series of algorithms and analogue circuits to interact and transform the sounds. During the technical building of a circuit I would record the mistakes and mishaps. This allows chance and experiential events to happen. The not knowing of what will happen next undercovered exciting and simulating moments that were edited to form the piece. My practice seeks audio-visual connections, a pairing of both light and sound phenomena drawing from my own personal

experience. 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.    

Text by Dr. Mark Pilkington/Thought Universe  © 2024