9′.28” – 2016
When did you start working with sound, and who were your references at the time?
I started working with sound around 1996 in order to make soundtracks for my own live performances (performance art and Butoh). These were still analog days, and I used to borrow four-track tape machines from musician friends. I found it very intuitive to build in layers, and in time. I had no musical training so I embraced improvisation, detuning, and minimalist, organic, textural sounds.
We are very interested in the listening conditions, in the spatial context of sound. You have presented your works in many different locations and conditions. How have the different contexts of presentation influenced your sound research over the years?
I studied architecture as well as visual art, so space is a primary interest for me. I’ve presented works underwater, in a crater in the desert, in a former slaughterhouse, on the beach, and as pirate radio transmissions broadcasted from moving cars – and in more traditional venues of course. But each time I explore how the space shapes and frames the work, how different spaces emphasize or connect certain “pathways” through the experience. I am interested in sound as an event and process – a poetic collision between space, sound and listeners.
During Helicotrema 2016, you will present Spirror (2016). Could you say something about the piece?
Spirror (2016) is intended to evoke a sonic space with distance and depth, a space for listeners to enter and inhabit. Once they enter and inhabit the space they might hear new things, and perhaps even bring something personal to that space. It is a space different from, but related to, and perhaps adjacent to, the familiar.