Winter Narratives Residency. with Artcore Gallery, Derby
DIARY
The theme of this residency provided a good starting point and forced me to examine my own work and its relationship to narrative in greater detail. Hieronymus Bosch's triptych The Garden of Earthly Delights had already been a subject of interest with its lack of single perspective. Researching Indian narrative artists especially in Vadodara such as Mohammed Sheikh (I found out too late that he was in the audience at one of the university talks we attended, I would very much liked to have spoken with him), I found a similar multi focus approach. My own work uses sound and I was interested in creating a multi focus work for the final exhibition although my overall approach was very open and fluid. I arrived with a methodology and audio equipment to enable a lot of possibilities.
I usually work in urban environments but the location of Highness Farm was brilliant and gave me the space to develop. My way of working anywhere begins with trying to understand the genius loci through wandering and wondering. I made audio sketches and very short films, I took photographs, drew, wrote and conscientiously did a blog as a way of a diary, and did a lot of thinking. These contemplative periods helped me think out some of the ideas that have been bothering me for a while. It also rekindled my love of drawing. I was much taken with the empty swimming pool which had great sound qualities but also interesting water marks round the edge. These were later drawn with burnt bamboo.
A particular highlight was the early morning start, being alone and listening as the day unfolded. A general outline of a day consisted of early breakfast and journal writing at the lovely apartment before being picked up by a driver to arrive at the farm about 9.30. Finding a place to put my recording stuff and computer, I began a wander of the site going out in the forest remembering to take a monkey stick. I am interested in the ecology and enjoyed finding out about the birds, plants, insects and trees. I was interested in the ecology of the farm, making lists of things I saw. Returning, usually to find there was some food or tea masala waiting, thanks everyone. It was these little things that enabled me to work unhindered and contributed to the residency success for me. Later, I would develop ideas from my walks, extend some recordings in the round house which was particularly resonant or in the swimming pool which was usually empty. These things were punctuated with exchanges mostly with the Indian artists, discussing our different ways of working, cultural and artistic debates with a bit of politics and philosophy thrown in. My wish for an open collaboration came about through my instigation of a 'map'. This consisted of my noting thoughts and ideas creating links and connections inviting contributions. These came in many different ways form paint, ink and feathers.
In addition to the work at the farm, the UK artists also provided a workshop at Sarjan Gallery. Mine, called Sonic Site was based on listening. First using beaters to hone our listening and then created a humming choir listening to the resonances of the room and to each other.
Lost with Tears/Purple Ball
This silent film shows a purple ball accidentally kicked into the pool. The wind moves it slowly to and fro presenting a meditational aspect to the film.
I created three sound works for the final exhibition, rice, feather and bamboo. These were played on small speakers hidden in the grounds. Each of these locations were marked by a box containing an item, an indirect object to reference. The sound works could also be accessed also by QR code for a long term legacy. Showing sound in public is always difficult and I was especially pleased that I was able to play the three final pieces without headphones. There was precise spot where all three of the audio works could be heard simultaneously contributing to the theme of European and Indian narrative art.
Rice
Rice is a staple food of many households the world over. Here, it represents the call to eat and to end the working day. This time was signalled by a gong, a striking of metal which carried over the fields. I was invited to Gopal Baug to strike this gong, a round iron disc hanging from the rafters of a building. This was hit with a hammer. This recording is the story of my hitting the gong. Thanks to Gopal Baug and Parth for facilitating this work.
Bamboo
This is the sound of making. The burnt bamboo, which was found in the remains of a fire, was used for the drawingOnly Empty of Water.This represents the activities that have taken place during the Winter Narratives residency. Each person on site has a recorded contribution of 8 seconds, which was interwoven to create a composed soundtrack.
These are Astha Patel, Chris Wright, Hannah Marsh, Jagdish, Jenny Bramley, Kamal Pandya, Maneesha Doshi, Natu, Parth, Prantik Chattopadhyay, Roshan Chhabria, Sandhya Gajjar, Santilal, Sashidharan, Sudipta Das, Tarun Chavda, Zahir Shaikh.
Feather
Here is the feather of a peahen. Early one morning, I sat and listened to the sounds of the night unfolding into day, the awakening of the birds and monkeys amongst others. Using the resonant space of the round house, I tried to emulate these sounds using a soprano recorder. This sound piece is that mimesis.