It’s been a bit quiet around here. The social media channels have been busy, but the blog has taken a backseat for the duration of my artist residency at Sauerbier House Culture Exchange; which has just finished and culminated with the exhibition, Compression.
To coincide with the exhibition launch, I’ve released a new album of material featured in the exhibition which was created in-situ during the residency.
It’s available in two versions: a digital-only edition; and a limited artwork edition with ink print and digital download. Click into my Bandcamp page to read more about it.
So, the blog will be getting a bit of love in the new year. I’ll be writing about my experiences during the residency as well as compiling a short documentary covering these adventures. Stay tuned!
I must admit, due to the AIR at Sauerbier House Culture Exchange (Port Noarlunga) I’ve scarcely had much time to keep the blog updated with my activities and movements. It had been my intention to post weekly installments, but this has been virtually impossible. In lieu of blog posts, my social media channels are suffused with photos and notes documenting a very intensive few weeks. You can find these links via my artist website tristanlouthrobins.com
As the launch of the AIR exhibition Compression approaches, I’ve finalised the artist statement which you can read below.
Working as a sound artist, my practice has been concerned with exploring the relationship between the natural world and human activity. Prior to commencing the AIR at Sauerbier House, I committed my weekends to follow and document the Onkaparinga/Ngangkiparri River, from its source in the Adelaide Hills to its meeting with the sea in Port Noarlunga.
At almost every stop along my river journey the presence of human activity was evident. In spite of the remoteness of a given locality, the environment where the river passed through seemed constantly impinged upon. A relative quiet would be interrupted by a mechanical din; the riverbank polluted by the accumulation of plastic detritus. With my sound equipment, camera and notebook on hand I would observe and document these dynamics.
Upon arriving at Sauerbier House to commence the AIR, the impact of this dynamic that I had previously observed intensified significantly. Wandering across tracts of open space, the presence of urban development and road traffic were inescapable.
The detritus and residues of human activity quietly and loudly punctuated the landscape.
Within audio theory compression is a term used to describe the technical process of attenuating loud sounds, whilst increasing quieter sounds. In essence, establishing a state of dynamic consistency and reducing the space between the loudest and quietest sounds. Considering the environment of the Onkaparinga in these terms; with a pressing together of natural and human environs and a reduction of natural space, the notion of ‘compression’ found its way into my thinking as a poetic reflection of the tenuous nature of the Port Noarlunga environment.
This idea of ‘compression’ informed my working methodology for the AIR studio practice, utilising sound recordings and found raw materials (both natural and synthetic) in sound compositions and sculptural forms that suggest states of solidity and fragility. The exhibition, Compression is presented as a consolidation of these impressions, a blurring of the distinction between the natural and synthetic.