“….there are certain things whose integrity and interiority (inaccessibility even) should be respected. Perhaps the best word for them may be “echoes”: a resonance of something whose source has been lost. They are traces of lived moments, and the artist, through recalling them in words and images, hopes to share something of them with the viewer, although the ways of sharing may be unpredictable. Even though they may not reveal themselves immediately or directly, these echoes, like the sea, are forever murmuring their messages to the mind. The untold may be the source of an endless re-telling…”
pg 146, The Self as Stranger, Simon Lewty, London 2012.
SL: “..who knows what is involved when a person responds to a surface? Sometimes I sense that whatever it is that is most inward to me as an artist has spoken to something equally inward in another person, and been recognised, and this is the most valuable of all responses. In the meantime, and for whatever reasons, we make our art. Perhaps, it’s rather like putting a message into a bottle and launching it on the open sea, not knowing if it will ever be found, or if a remote finder might share its message….”
Pg 169, Reveries and Transformations, Susan Michie/Simon Lewty, 2009
Sound to surface to space:
Stepping into a plastic architecture of space sculpted by an aural environment.
This work imagines extrapolating from the sculptural form of the ear, expanding outwards as in waves- to encounter a malleable architecture formed by sound movement.
The forming capability of resonating sound has been demonstrated visually in sound experiments showing the pattern formation of particles in a resonating field. (See images below of patterns formed by sand on a vibrating metal plate).
The foldings of surface which make up the individualised outer ear can be imagined as distillations of a vaster formative principle which constitutes the space we all share.
(Giles Deleuze, “The Fold”)
This work predicates a concrete imagination tracing the expanding movement from the visible ‘residue’ which constitutes the outer ear. (Although not explored here, this would also mean considering the internal sculptural movement of the inner ear and its relation to the “outer architectural skein’-the skull).
From sound to space:
This “installation experiment” hopes to explore the limitations of artistic media when experimenting with the above “concrete imagination”- relating it from a subjective starting point, which is how we experience sound – and following its expansion into the architectural space which we inhabit communally.
Contemporary studies in aural architecture are influencing the traditional canon in spatial design and the potential for greater plasticity of architectural structures is being explored out of an emerging sensibility for understanding materials as resonating membranes.
The screen: (still and moving image)
Exploding the video as an two-dimensional art form. I am using the projector’s light source beaming into the space and then broken into planes within the space to ‘capture’ traces of visual details of the larger image on screens. The viewer is then within the image. This is analogous to the notion of resonating sound in the space: The sketches on canvas act as ‘lenses under a microscope’, making visible small details of much larger foldings in sculptural space, forming and generated by the plasticity of resonating sound.
Slow-moving still or long-form video:
I am interested in the ‘slow-moving still: In painting I am immersed in process and flux, and I hope the viewer can enter into that process through the traces visible in the mark-making. This is based on an instinctive ‘knowledge of the hand’, an important source of creative research which is inaccessible when working in technology-based media. I experience this as a lack. The relationship to the physical surface and its tactile qualities- to me an important element in artistic appreciation- is sublimated in most video imagery.
Here I am considering the potential of a nuanced surface in conjunction with a long-form video image thus accessing the historicity of painting traditions, without being restricted to a narrative time-line as in traditional moving image work.
Artists: ivon oates/Duncan Whitley
A collaborative site specific project by ivon oates and Duncan Whitley at Rampisham Transmission Station.
The unique environmental conditions and utilitarian construction are juxtaposed in visual imagery with sound recordings taken from antennae and structures at different locations around the site to compose a multichannel sound/visual installationThe project started in 2009 during a SALT residency organised by PVA MediaLab.
The Rampisham Transmission Station site is a 140 hectare rural location in Dorset and, until recently, has transmitted digital and short and medium wave radio from broadcasting stations internationally. As the only installation capable of reaching all parts of the globe, this historically significant site has played major broadcasting roles as a BBC world service station during the 2nd WW, and the cold war. This site is now being decommissioned.