Katie Anderson

Artist based in South West Scotland; interested in people, places, materials and collaborative practice.

Tag: installation art

Artist Residency: Cove Park 2

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Sound Out

Artist residencies are interesting for their different-ness – few residencies seem to be the same -, but there is something incredible about the intensive nature and approach which they allow for. The luxury of time with no other distractions, responsibilities or guilts – if you can hold these at bay – is a really changing experience for getting in deep with your work. The days stretch out long, and progress meanders between productivity and procrastination, but all edging towards the heart of the work itself. They can feel extremely self-indulgent as the everyday can be thoroughly neglected, and new and unusual routines emerge quickly focused around the act of making, or sometimes the act of avoiding the work. This is all healthy and productive. Taking a walk can be really the most useful thing you can do.

That being said, this was not a gentle paced residency in lots of ways. I arrived with a long list and set of goals to reach during my seven day stint, and I largely stuck to it. I allowed the location – the place – to seep into the work, to influence, settle and change again my relationship with the work in progress.

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Where Do We Go From Here?

The piece I have been developing, Sound Horn, is a sculptural and sound installation comprised of a six speaker surround sound system, that plays through a series of large horn-like sculptures that sprout from the ground. The work looks to encourage audiences to playfully explore the site in which it is installed, for the site where it is installed ultimately shapes the nature of the work. With each site tested or explored using the Sound Horns, the work hones in a little in my understanding of it. The installation sings, reverberating a tune of it’s own making that fills the space and reaches out as it travels. An immersive meditation on the audible place, the subtle changes in tone as audience and sound move around the space, it’s come on leaps and bounds this week.

During the residency, I was able to install the work twice in two different locations, the first very poetically beautiful and almost ornate – around the frog pond, an exposed and open environment, but somehow still with a hint of the domestic. The audience for this first installation comprising of two curious highland cattle. The second, in a small section of woodland just away from the track, involving the stepping away from the path, over the ditch and through the branches felt a little more involved, and was shared with the other artists on residence with me at the time (thank you all!).

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Now, You Have Arrived

I set myself some interesting challenges for the week, to push my own comfort zones, to learn some new digital skills and to familiarise myself further with the work and the way it responds to the place. I developed three new sound sketches for the installation, all created using recordings at Cove Park including vocal arrangements and field recordings. Having lived with quite a long time fear of sharing my voice in the work, this has felt like a big step, however I’m keeping the audio under wraps for now.

It was also very exciting to meet other artists on the programme, hear about their passions and current projects, exchange thoughts and opinions and hear about their daily developments, and our collective quest to gather the best recordings of the frogs. I’ve learned a lot already from the conversations and really look forward to seeing how the works all develop, and where the Cove influences appear.

Don’t get too comfortable.

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I was spending a week at Cove Park as part of the Cryptic Artists Residency, developing the work Sound Horn. Originally conceived as an idea with sound artist Justin Prim, I’m now taking the piece forwards for a new installation in 2019.

Special thank you to the Cryptic team for an amazing opportunity, and to the Cove Park team for their warm welcome and beautiful location to be based in for the week.

Mapping Time

It’s been a busy few weeks in the studio, finishing the last of three major commissions for the new hospital in Dumfries. This last project, is the most immersive of the set, due for both A+E and the Maternity departments. The base layer, the ground coat if you like, was applied directly to the walls in November 2017 and are familiar to anyone who is a regular user of these spaces.

These are a series of maps

a series of scales,

mapping variations of scale in place.

Land

Tree

Human

The scales of the infinite.

This final work – as yet untitled – shares an illustrative approach to a series of maps; of places through a contour maps, of trees through the mapping of tree rings, and of people, through chromosome mapping of the human genome, layers of a place and depth of being. As a playful abstraction of data, they are all open to (mis-) interpretation, and I hope they will be in situ soon for you to experience.

Each piece has been hand painted and features 52 colours, with additional mark making and lines drawing using pyrography – etching the marks in using a burning pen. There are seven in total, headed to five different waiting rooms throughout the new hospital, so keep your eyes peeled!

The contour maps on which the circular maps will eventually be displayed.

Land Form Plastic

Every artists action leaves behind it a material trace.

New work that I have been developing is being exhibited as part of an upcoming show at the newly refurbished Kirkcudbright Galleries.

The group show, Energise, curated by Upland opens 13th October and runs for a month until 9th December.

Full details available here

SOUND HORN | Wave Decay | SANCTUARY LAB 2017

Can an artwork retain an essence of the site-specific whilst re-locating?
Can a temporary artwork be a tool for exploring, or re-examining a site?

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The second installing of Wave Decay took place as part of Sanctuary Lab, a 24 hour experiment of sound, light and art in the Galloway Forest Park. The site I selected on recommendation, is the stunning and majestic McMoab Stones, for the most part solely used by Mountain Bikers with a taste for the adventurous, these beautiful granite rocks rise out of the landscape like huge stone whales. It is an awe-some location in all manner of meanings.

The work has been heavily redeveloped sculpturally, with a series of new speaker horns created as part of a VAACMA Award 2017, in sheet copper and aluminium. They were a joy to make and gave an interestingly alien shine on the place, like small space rockets that had landed in the landscape, reflecting the tones and colours of the granite, the trees, the sky.

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The conditions for Wave Decay 2017 were extreme, with heavy rain and strong winds – the site became increasingly exposed and wild as the morning continued as wet as it began. Wave Decay became an opportunity to watch the sheet rain move across the valley, and hear and feel the very essence of the place as a seeping cold, pervasive damp against all waterproofs.
The all pervading sound of Wave Decay echoing out through the rain lingers long after everything has dried out.

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With extreme conditions come a kind of extreme audience. Intrepid explorers intent on the destination appeared in twos and threes, wearing increasingly serious waterproofs and boots. We casually handed out transparent wedding brollies to hold back the rain from faces at least temporarily, and visitors moved cautiously at first, over the backs of whales – picking between the puddles and up to the ridges, as the sound moved over in a constant drone of sound.

The sound, whilst difficult to explain – even in situ – provides an opportunity to re-examine place through sound, as the everyday sounds are muted and replaced by constant tones that move with the visitor, the sound unique to each pair of ears, moving and waivering discreetly between the sculptures.

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It became apparent during it’s latest outing that Wave Decay is no longer the appropriate title, it started out as an exploration of decay in space and sound in the ruins of Milkbank near Lockerbie, but as it moved location clearly the name could not accurately move with it. The sound horns are the constant, and everything else adjusts in response to the site.

As the work moves on, it looks for both new sites and places to test, a new name – (perhaps the work needs to be renamed for each site, but to still have a sense of consistency across the installations), and potentially a new addition to the current sound. I would love to bring the sound of each site to following iterations of the work, and allow the sites, or ghosts of sites to work with the current tonal sounds. I would like to better share the human essence of the work, the playful exploration and the vocal ranges. The sound might like to be more human, or more animal – and better be able to share it’s sense of place. It’s a growing experiment, and I’m looking for new site locations, indoors and out, that could play host to Wave Decay’s Sound Horns. If you have ideas, responses or general interest please get in touch.

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Huge thank you to everyone who made the effort to join me out of the McMoab Stones in September on a dreich Sunday morning, to everyone I spoke to and those I did not, thank you. Also big thanks to Sanctuary Lab team, Robbie and Jo, to Michael, Matt, Colin, Mike and everyone who helped get the install up last minute, Justin for the international tech support help line, to the trusty Pick Up on it’s final mission, and to the funders for helping get this project off the ground.
This project has been supported by Sanctuary Lab 2017, and the South of Scotland Visual Artist and Craft Maker Awards funded by Creative Scotland, Dumfries and Galloway Council and Live Borders.

High Street Neighbours

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Describe neighbourliness.

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What might a High Street community look like?

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Who, or what else, lives in the town centre?

neighbour usage decline

The usage of the word ‘neighbour’ has been in steady decline since the 1840’s.

It’s been Guid Nychburris (Good Neighbours to all of those not originally from or local to Dumfries), this week and the Stove has been exploring ‘neighbourliness’ as part of our current Conversing Buildings project. The building has gone a little Christo inspired, in what is definitely the brightest and boldest we have gone with celebratory decorations so far.

The sign board has also had a make over, prompting our latest favourite anagram game.

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H I G H S T R E E T N E I G H B O U R S

High Street Neighbours is part of our TAKEOVER theme, a series of events and activites focused around community takeover and creativity. Stay tuned to the Stove for more details.

Wave Decay Sonotorium

sound | art | light | space

18th – 21st August 2016

Follow the Annandale Way
Step lightly
Imagine the wild as fragile
Listen
Immerse yourself in the sound fog

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Wave Decay Sonotorium was a three day sound and sculptural installation created for Milkbank House, a now ruinous 19th century country house in rural Dumfries and Galloway. Working in collaboration with sound artist and energy healer Justin K Prim, the work was developed over the course of a year in response to the site and an exploration of sine wave tones.

Powered by a custom build multi-channel amplifier and speaker system, Wave Decay Sonotorium aimed to use sound to transform the space and shape the experience of exploration. A series of eight sculptural speakers, were installed throughout the ruined remains, shaping the sound and in turn re-shaping the environment around them.

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As viewers moved through the space, exploring nooks and crannies, the last moments of Milkbank as it is being reclaimed by the land, the sound of Wave Decay moved and altered with them, shaping the experience of place and changing our interpretation of space, if only temporarily.

The resonance coming through the sound horns, created and concieved by Justin, were pure sine wave tones. Tuned to harmonise perfectly with the natural resonant shape of the cochlea in the ear. The relationship between the eight notes uses an ancient tuning system, believed to be beneficial to the human mind and body.

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On Thursday evening, the only dinner for 50 years was hosted in Milkbank House inviting guests to spend an extended time with Wave Decay Sonotorium

Wave Decay Sonotorium was made possible with the kind support of DG Unlimited, Dumfries and Galloway Council, The Stove Network, The Holywood Trust, Robin Bell-Irving, Will, Ruth and Graeme Anderson, Robbie Coleman, Matt Baker, Mairi Singleton and the take down team family Wallace! Huge thank you’s are due to you all.

Full details of the project are available on our website, available here

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Voices from the Phone Box – Short

It may have been a while ago, but it’s taken me until necessity called to get my tech upgraded and edit this together, for last weeks Fresh Start for the Arts Conference – that was held in Greyfriars Kirk, Dumfries. A day of celebrating what has past, welcoming in what is to come and looking upwards into the future – the place buzzed with possibility. For more on the event – they have a website http://www.freshstartforthearts.com.
To the short itself – there are a couple of dodgy transitions, and one lesser shot that somehow filled a gap, but not much more. Feedback most welcome.
This was a sort of testing, a new form of documentation for my work – photographs only tell half the story, and film allows for a more immersive experience when the work is visually subtle, and more complex in other ways. Others may follow.