Scores? Spectrograms? Maps?

I am engaged in an ongoing project called Rhyne & Huish, using Experimental Geography to uncover transdisciplinary responses to the Somerset Moors and Levels.  A significant aspect of my work uses sound and experimental geography to capture and re-present unique landscape qualities. Sound recordings of people (anthrophony), wildlife (biophony) and elemental aspects of the environment – water in particular (geophony) – are raw materials for a process of place making. Production is guided by a series of spectrograms, which also operate as stand-alone works, using simple mark-making on a range of scales – from intimate hand-held works to large scale whole-wall works. An initial set of framed Spectrograms will be exhibited in May 2019 at Dartington via artdotearth and CCANW.

Having recently carved out a studio space in my home I have set about creating this work, but remain ambivalent about ‘what’ precisely they are. Playing with language and with labels can help to direct work in particular ways, but can also set limits that might not be useful.

So be it; there is already a rhythm to the works-in-progress. Using simple mark-making (drawing and monoprinting) onto brown card, which is perforated in circular patterns to suggest amplification, and by limiting my palette, a movement is revealed that can be further developed.