Compression – Artist Statement

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Suspended Echo #2 (2018) – installation element

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.

Compression launches on Saturday 15th December at Sauerbier House.

Artist Statement

Tristan Louth-Robins – Compression

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.

November 2018

 

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Fenceposts and wires resonating, Port Noarlunga – Oct 2018

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Here’s excerpts of some unique recordings I made with a pair of Aquarian hydrophones. I was walking along the Onkaparinga River close to a fence line boundary when I passed what sounded like a pure wave. I realised this was coming from a fence post resonating from the vibration of fixed wires. I pressed my ear to listen closer. It sounded amazing!

I didn’t have any clamps to fix contact mics to the wire, so I decided to bury a pair of hydrophones at the base of two fenceposts. I positioned them so that they were flush and lightly making contact with the base of the post. Both resonances had fundamental frequencies of approx. 360 Hz, with a partial occuring at approx. 420 Hz when the wind picked up and articulated the wires.
I then decided to explore this further by examining the surrounding fenceposts.

Excerpt 2 is one of the initial fenceposts with another fencepost that presented a more complex resonance (423 Hz, 637 Hz, 720 Hz).

Excerpt 3 is another set of fenceposts which were far more subtle in resonance, but prone to perculiar artefacts, which (at this stage) I’m attributing to the wind and movement of sand around the base of the posts.

Excerpt 4 was at a point where the posts produced very complex resonances, and it became apparent that these were not so immediate, but rather, derived from activity occuring 50-100 metres along the wires. (the soft tapping you can hear is raindrops hitting the post, wires and sand.)