The idea started from a question: can I play a song without actually hearing it? So much of the way I play is dependent on listening and memory—and even ego. Yet when the song is taken away, what remains is the structure and performance. Are these elements of greater, equal, or less importance? Does it even matter? I don’t know, but it interests me. So I explore.
I was also interested in representing music in a more tangible form, and by that way relate the presence of sound to the viewer on a one to one ratio. As a key is played, the hammer strikes recording that action on the plaster; the plaster chips and eventually wears through. Consequently sound is left behind, a record of some of the action and interaction between the viewer, the piece, and other viewers. Clearly we change space by the sound we make, and I am attentive to this in my practice. What if we listen to ourselves? What if we listen back?
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