My work investigates the relations between notations and the performance of the propositions being notated. Articulate systems such as the Music notation, or the graphemic writing of Indo-European languages, are both social systems and control interfaces that enable translations of temporal into spatial information, allowing us to think, act and initiate action outside ourselves. They are drawings, and are images of some-thing, but as a matter for an integrated theoretical/creative practice, how are the four dimensions of auditory experience reconstituted for writing and reading on the page? How might we take the relation in the other direction – from paper to music, as composition? The work codes between the visual primitive of line and the auditory primitive of timbre, as an opportunity for exchange between perception and interpretation, between interior and exterior, and between image and object, recasting the question “Can we both show and say?” in terms of our human desire to make music with our voices, and then write an image of that experience. They focus on the readymade linear representations of speech sounds from the alphabet, and as a visual vocal music, they remind us that consonants are the mortar which fixes the timbral qualities speech in place, delineating vocal shapes in silence, determining but not specifying pitch and volume. Graphemes and angles of incidence are characters in the scheme, and their notation spaces are pitched layers, resulting in interference patterns which generate larger structural shapes. As an opportunity to see and hear music, they give us the line-by-line organisation of the word: something like “Ursonate,” but rather than a relentless cascade of syncopation and rhyme, a composition of movement-sounds, connected to glottal and labial gestures that quiver in their potency, while never quite articulating. We need to ask how we can perform or record a composition of sound with no sound -- an ancient, tantalising possibility. By rendering breathlessness as a character in the scheme, these score drawings give us a positive notation for silence, for incipient noise as music.
Artist Bio / CV
2003-11 Instructor, OCAD University, Toronto, Canada.
2008-11 PhD candidate, University of Glasgow/The Glasgow School of Art, Glasgow UK.
1999 The Pratt Institute; Brooklyn New York, USA -- MFA
1986 Parsons School of Design; New York, NY, USA -- BFA
Selected exhibitions of artwork
2011 ‘Bealtaine,’ The Glue Factory, Glasgow UK, April-May.
2010 ‘Half knowledge/half,’ Grace and Cark Fyffe Gallery, Glasgow UK, April.
2009 ‘In design,’ The Furniture Gallery, Glasgow UK, May.
2008 ‘Entanglement,’ Propeller Centre for the Visual Arts, October, Toronto ON.
2006 ‘Mumbo-Jumbo,’ G+ Galleries, Toronto ON, November; ‘Blueprints:Diagrams:Models,’ Propeller Centre for the Visual Arts, Toronto ON, Dec.; ‘Drawing 2006,’ John B. Aird Gallery; Toronto ON, January.
2005 ‘Theory of Everything,’ Propeller Centre for the Visual Arts, Toronto ON, May; ‘Drawing 2005,’ John B. Aird Gallery; Toronto ON, January; ‘Metamorphosis,’ John B. Aird Gallery, Toronto ON, June; ‘By Association,’ Propeller Centre for the Visual Arts, Toronto ON, February.
2004 ‘The Water Project’, O.S.A. 401 Richmond St. Toronto ON; Access Artist Run Centre; ‘Drawing 2004,’ John B. Aird Gallery, Toronto ON, January;
2003 Biennale Internazionale dell’Arte Contemporanea, Florence, Italy, December.; ‘Splendour of Compromise,’ AWOL Gallery, Toronto, February; ‘9/11 Memorial;’ Williamsburg Art and Historical Centre; Brooklyn NY USA, Sept; ‘Fire Monsters in the Milky Brain,’ Propeller Centre for the Visual Arts, Toronto ON.
2002 Drawing International 2002 – Wood Gallery and Arts Centre, Montpelier VT, April; Galeria Sassetta, ISA, Montecastello di Vibio, Italy, May.