Sound and print installation
Helmore Bridge (outside seating area), Anglia Ruskin University, East Road CB1 1PT
Audio-visual methodologies are employed in the investigation of data and its interpretation. Focusing on the electro-magnetic sounds present around us in this digital age, we will unveil the hidden soundscapes generated by the mediums of modern communication. At the same time, digital data encoding processes will be transferred into ornamental fractal-like prints. Both methodologies combined will take the shape of an interactive audio-visual installation, hinting at a metaphorical map of our communications network and digital footprint.
Flowing in a deconstructed dialogue from the highly processed documentation (site specific field recording and photography), visual and sound languages will operate together in the final installation. The audio content will affect the way in which the large scale print is perceived, encouraging the audience to construct multiple connections between the complex information contained within it, aiming to connect with the audience and their personal perception of the environment.
Phil Mill works with sound using extended methods usually applied to field recording, exploring noise and space, the interconnections and networks that surround our acoustic environments, transmitted through or represented by cartographical noise. He also explores DIY methods to create new ways of interpreting sound through digital software, experimental electronics, musical improvisation and recording techniques.
Susana’s work consists of external, site-specific interventions; time-based media; drawings; and prints. Her practice is focused on the human imprint and self-identity in relation to technological development. The post-industrial ruin and the experience of sublime; ambient and industrial music along with the experience of sites and landscapes, push her ideas into creative projects. She is intrigued by the relationship between humankind and machines, underlined by the paradoxical dualities that define the human condition: animate/inanimate, material/spiritual and body/soul (Kang, 2011).
Derelict sites, in their poetic isolation, turn into sites of intervention as archaeological stencils. In the form of traces, debris, and noise, life is imprinted in space, often unnoticed and neglected. Susana’s work depicts human fabrications merging with and decaying in nature.
Ideas of simulation (Baudrillard) and physical labour are embedded in her practice, as she combines digital manipulation and manual printing processes. Mass duplications generate large scale patterns that belong to the ornamental and baroque.