Samson Young




When did you start working with sound, and who were your references at the time?

I was trained as a composer at college, and before that, I played the double bass and the piano. So in a manner of speaking you can say I have always worked with sound. But I was a pretty “straight the centre” kind of composer until my graduate years when I started hanging out with new media artists and artists working in the visual arts. It was then when I started branching out into drawings, installations, and conceptual type works.

Can you say something about the two pieces you will present at Helicotrema 2017?

The first recording is a field recording of a Tobacco auction, the auctioneer was Chuck Jordan, and it was recorded in North Coraline. Chuck is a bit of a national treasure – he is one of the last active tobacco auctioneer left in the country. The second recording is a field recording of oil flare recorded in the city of Williston in North Dakota. I processed the recording through a python script that I’d written, which keeps applying reverb effect to the recording until it distorts.

What are you working on, at the moment?

I am working on a new rendition of my¬†Muted Situations series of sound-based work, for the Biennale of Sydney. I am also programming a bunch of “physically impossible trumpets” for a multi-channel sound installation, for a show at the Guggenheim in 2018.