Archives for category: installation

In September last year I was asked to create a wall drawing in the Vault Artist Studios members room. I drew this piece, a Fibunacci sequence inspired, planet like layering of regular circles in chalk. The chalk had not been sprayed with fixative, over the weeks and months parts of the drawing had been smudged and worn away as people’s presence marked the passage of time. This became a slow visual metaphor for the studio members’ transient presence in this former technical college.

Vault hosted an excellent Fringe festival on the first and second of June this year, comprising over 100 events and projects happening in the building and the car park. In preparation for this, the exterior of the building and the members room underwent a vibrant redecoration. The first drawing was covered up.

I drew a new site specific piece in a different part of the room using wax crayon:

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The deep indigo background marks a break with monochrome. This drawing plays with imperfect symmetrical forms, incorporating influences from many sources including early arcade game vector graphics, sacred geometry and heavy metal logo typography.

Detail:

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Here in the finished room, the drawing is surprisingly augmented with a rack holding pool cues.

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This is the full performance I made on the opening night of The Melody of Dust exhibition. The performance followed a pre-determined ‘recipe’ score that provided a loose structure for what to play during each section. The score allows for improvisation within parameters, ensuring that each performance will be different.

It was kindly filmed by Colm Clarke, who curated the show with Tonya McMullan.

 

RDD

As an offsite component of the Ulster University MFA Show 2016, I performed a series of 45 minute electronic drum and loop station performances alongside a sculptural installation. These took place in the downstairs hall of Redeemer Central Church, an atmospheric and austere space close to the Art School.

I made black sheet screens for the windows to subdue the light. The space was divided by a large black curtain. Drum sounds were played, looped and layered and relayed through a Marshall amplifier.

The black sculpture was a significant presence in the room, intensified by successive layers of drumming.

Marshall Amplifier and Curtain, Redeemer Central Church, 2016.

 

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shapeofarttocome

Double E sculpture with analogue metronome

The photograph below shows two recent wall drawings, created in the weeks leading up to culture night Belfast on the 18th of September. A dark blue bass drum has been placed in front of them.

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Drawing I

triangle drawing

Drawing II

circle drawing

I also made a sound performance piece with Michael O’Halloran that evening, he using guitar and a loop station, and I playing bass drum, hi-hat and snare drum. The rules that governed this were as follows:

‘Loop station Performance’

  • The guitar will be playing within a loop that will repeat after a predetermined amount of time.
  • The tempo and the key will be fixed, and notes will be improvised within a recurring pattern.
  • The pattern will be manipulated with digital effects, but always manipulated as a whole.
  • The drums will follow the pattern established by the guitar.
  • The performance will last ten minutes.

The performance was intended to augment/activate the drawings in a thoughtful way. Just as they were produced by a process of repetition and layering of individual component shapes, the idea was to layer and repeat notes to eventually achieve a complex build up of sound.

 

2 drawings and drum

After culture night I decided to leave the bass drum in front of the drawings. The drum’s form is sculptural, the circular shape echoes the shape of the drawing. It is a resonant object both sonically and symbolically.

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