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photos by Julie Penfold

ivon oates continues the experiment, after presenting ARRAY 13 at AudioLab2012, a collaborative site specific project with Duncan Whitley and ivon oates at Rampisham Transmission Station. Here she combines long-form video and four channel soundwork in an aural space and painting. During the day viewers were invited to join her and consider the issues and possibilities of these media in an informal open studio event.

D I V A c o n t e m p o r a r y

Sound to surface to space:

Stepping into a plastic architecture of space sculpted by an aural environment.

…” Growing from other turbulences, in the erasure of contour, turbulence ends only in watery froth or in a flowing mane. Inflection itself becomes vortical, and at the same time its variation opens onto fluctuation, it becomes fluctuation.”

pg17,“The Fold” Giles Deleuze

The work shown during the open studio[3] 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. (This is shown in chadlni’s cymatic experiments where patterns are 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.

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.