Hi All,
The issue I had with the sound is now resolved. Just cut and paste the link to listen.

Best,

Frank

Sound Installation, The Old Truman Brewery, Brick Lane, London 2011

During 2010/11 I completed an MA in Design for Interactive Media which enables me to create interactive environments. This new direction integrates and extends my practice in fine art and theatre adding the new (for me) dimension of sound. The MA was largely practical but had a theory and context dimension to it which, to my surprise, I thoroughly enjoyed. Early on in the year I decided to link both of these elements together so that the dissertation informed the exhibited work and the work was a physical extension of the dissertation. I hope you enjoy and I would appreciate any constructive comments.

Each of the pieces is represented in a section of the essay and I would also contend that the essay is given an auditory, tactile and spatial presence in the exhibition. In Forbidden Fruit  I wanted to explore the issues of the sacred. What are the cultural associations I have ‘learnt’? What are the ‘triggers’ that make me re-experience that part of my life? How can this be communicated to others? The piece Shipbuilding, is concerned with the way in which the sounds of the industrial past become part of the culture/heritage industry. Beach Memorial, is a stage in the development of a series called Memorials, concerning private interventions into public space. Common to each is the use of sound as a trigger and carrier of meaning to invoke memory, location and time. Each box and its contents are carefully chosen to underpin the story conveyed by the sound. For example, the apple, the resonating sound of the organ, the faded gold box with red satin lining, all working together to tell of my experience of aspects of religion. Of concern also was the scale of the sound in relation to the box. Giving a sense of architectural space and location through sound in a neutral gallery was a particular issue I was dealing with as was allowing the participant to interact with the objects and bring their own experience and understanding to complete the story. 

The Images are as follows;

1, Forbidden Fruit https://soundcloud.com/artrum/forbidden-fruit-1

2, Forbidden Fruit

3, Shipbuilding  https://soundcloud.com/artrum/shipbuilding-1

4, Shipbuilding (detail)

5, Beach Memorial https://soundcloud.com/artrum/beach-memorial-3a

6, Beach Memorial (detail)

7, Installation 1

8, Installation 2

Technical Specifications;

mixed media, boxes, suitcase, clothing, headphones, Arduino, Processing, macbooks x 3

Please refer to 

http://artrumtoo.blogspot.com/


for information about my fine art practice.

Den Girige for Smålands Musik och Teater, 2006. Directed by Ronny Danielsson

I worked with the idea of the piece taking place within some kind of stock exchange environment. The costumes are a heightened version of the business 'pin stripe suit' The stripes were sewn onto the surface of the costume to create striking long figures.

Harpagon changed into what he thinks is fashionable. I used the Burberry fabric to excess in this character - something we can see in the plethora of Burberry accessories today.

The task I accepted from the theater was to create both Den Girige and Tartuffe within the same scenografi. You can see in the following images selected from my storyboard how the hiding places in Tartuffe became an architecturally minimalist contemporary office.

Tartuffe for Smålands Musik och Teater, 2006. Directed by Ronny Danielsson.

This is the opening scene. The audience see a wall which suddenly opens as the characters 'spy' on each other. The idea I worked with was that the space is full of secret locations that are used as hiding places in a household where knowledge is used to abuse power.

The element of religious hypocrisy in the piece was linked to the 'Knutby pastor' that almost mirrored Moliere's piece.

I used wallpaper from the 60's to suggest a neglected interior that could be either a house or a meeting room attached to a church

The entrance of Tartuffe

I used a mixture of highly stylised 'period' dress and contemporary clothes - the modern dress was revealed as the piece went on so that we travelled from Moliere's time to today during the course of the piece

Tartuffe had to look like a crow - something that scavenges. I had the tails of his coat wired up so that it moved as he walked. This obviously influenced how the actor created the movement for the character.

The Kiss of The Spiderwoman 2005 for Malmö Opera och Musik Teater. Direcred by Ronny Danielsson

Rehearsals and sketch model.

The prison environment was lit in cold blues and greys and the scenografi was similar - grey dirty concrete but with a highly polished dancefloor. The spiderwoman was lowered from a catwalk 5m over the stage - this can be seen in the sketch model.

hen Molina escaped into his film world the space was transformed through extravagently coloured light and costume.

The prison cell in which Molina and Valentine are confined 'disappears' and becomes a thing of fantasy as Molina engages with his dreamworld.

Carmen in Pildamsparken, Malmö 2007 for Teater.Nu. Directed by Ronny Danielsson. Realisation and ideas.

Model box work

Rehearsals in Pildamsparken

Computer generated images from the storyboard and sketch models





Computer generated model in theatre space

Modelbox


Floor drawing
Computer generated sketch model